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DECEMBER
192 9
1
Gloria SWanson
/\l in I it/ A i
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Established 1895
ROYAL
DIAMOND tv
WATCH CO.
Address. Dept. 65-z, 170 Broadway, New
Advertising Sixtion
WILLIAM FOX
presents
the first Viennese Operetta
A Song Romance with music by
OSCAR STRAUS
composer of
THE CHOCOLATE
SOLDIER
WHAT THE NEW YORK
PAPERS SAY:
"...One of the loveliest of all the melody films, the most
exalted score yet to be sung in the audible pictures...
Audiences are going to find it a thing of joy."
— Quinn Martin, World
"...An especially fine example of vocal recording... adroitly
interspersed with joviality and extremely clever photo-
graphic embellishments. The principal songs are charm-
ingly rendered." — Mordaunt Hall, Times
"...it recalls sweet and pleasant theatrical memories... it is
of such stuff as dreams are made of ...glorious music."
— Irene Tkikek, Ncivs
'...boasts big sets,
mob scenes, elabo-
rateeolor sequences
... has been produced
on a very lavish
scale."
— Rose Pelswick.
Journal
Broadway contributes the stars, Hollywood
the lavish ami splendid settings, and '\ ienna
the enchanting melodies of her greatest living
composer, Osear Straus — to make "MARKIKD
IN HOLLYWOOD" the most glamorous song
romance ever conceived for stage or screen!
Here is $6.60 Broadway entertainment —
plus! Leading stars of song and comedy, bevies
of Hollywood beauties, settings that stun the
vision with their magnificence, a plot thai
would have delighted George Barr 3IcCu teh< •< >n
himself and surrounding it all, a haunting,
enchanting musical score by the world
famous composer of the Chocolate Soldier!
"MARRIED TN HOLLYWOOD" will be at
your favorite theatre soon.
Don't miss lliis musi-
cal M<>\ ietone!
|l!ll!ll!llllllllll!llill!lllllll!llllll!llllllll!lll!lllllilllim
MONTHLY
li:illlllilll!:i!l<]!!lllll]!ll!!l!lll!!!!l!llllillll!!!lll!i:illlll!llll!l
Picture Play
Volume XXXI
Contents for December, 1929
Number 4
Tlie entire contents of this magazine are protected by copyright, and must not be reprinted without the publishers' consent.
Edwin Schallert .
The Bystander
What the Fans Think ....
Their thoughts are strongly expressed — and how!
Airy, Fairy Marilyn .....
A graceful portrait of Miss Miller, in "Sally."
Stingy? No, Just — er — Careful .
Stars accused* of parsimony are entertainingly cited.
Just Fancy!
If popular sayings became literal.
Checking Up on Dick . . . . William H. McKegg
A comparison of Richard Arlen before and after fame overtook him.
The Stars' Secret Code ..... Helen Louise Walker
They lend a helping hand and say nothing about it.
Teetering on Their Toes . . . . ...
Pictures of dancing sprites.
Over the Teacups .....
Fanny the Fan's perennial chatter.
Strange Roads to Stardom .... Alma Talley .
Unusual means employed by well-known players in starting their careers.
Hotter and Hotter
Eddie Nugent and Sally Starr practice a new dance.
What a Guy! What a Guy! .... Samuel Richard Mook
He's Glenn Tryon.
Favorites of the Fans .........
Full-page portraits in rotogravure of eight you all know.
Your Darts Strike Home ..... Ann Sylvester
Leila Hyams admits that she reads "What the Fans Think."
She Wears the Badge of Courage . . . Myrtle Gebhart
You will agree when you read Anna Q. Nilsson's story.
Billie Alfresco . . . . . . ....
Sans spangles and plumes, Miss Dove is a different person.
Dogging Lila's Footsteps ..... Romney Scott
Three delightful encounters with Miss Lee, the first as a child.
Hollywood High Lights Edwin & Elza Schallert
News and gossip of the movie capital.
Through Different Lenses A. L. Wooldridge .
When President Hoover was snapped by a photographer of stars.
The Stroller
Ironic observations of Hollywood's idiosyncrasies.
Continued on the Second Page Following
Neville Reay
8
15
16
19
20
22
24
26
30
33
34
35
43
44
46
47
50
54
56
Monthly publication issued by Street & Smith Corporation, 70-89 Seventh Avenue, New York City. Ormond G. Smith. President; George C. Smith, Vice
President and Treasurer; Gem-Re C. Smith, Jr.. Vice President; Ormond V. Gould, Secretary. Copyright, 1929, by Street & Smith Corporation, New
York. Copyright, 1929, by Street & Smith Corporation, Great Britain. Entered as Second-class Matter, March 6, 1916, at the Post Office at New York,
N\ Y., under Act of Congress of March 3, 1879. Canadian subscription. $2.86. Foreign, $3.22.
YEARLY SUBSCRIPTION, $2.50
SINGLE COPIES, 25 CENTS
ALL MANUSCRIPTS MUST BE ADDRESSED TO THE EDITORS
We do not hold ourselves responsible for the return of unsolicited manuscripts.
lllllllllllllllllllllHIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM
Advertising Section
L»»*
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"...ta^ .,.,, >r:;'- : ;
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door, Tb d% „ ,| | >
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Contents — Continued
When They Love Out Loud
June Collyer tells what happens in the talkieb.
They Got What They Wanted, But .
Some notable breaks and what came of them.
The Torso Triumphant ....
It belongs to George O'Brien — how can you ask?
The Screen in Review ....
Impartial reports of the latest films.
A Confidential Guide to Current Releases
Timely tips on pictures now showing.
The Stepchildren Make Whoopee
Private diversions of some lesser-known players.
That Mystic Urge to Act ....
Lenore Ulric describes it eloquently.
Renee — As She Is .... .
High lights of Miss Adoree's character and career.
It's Great To Be Famous ....
But sometimes the penalty is beyond all reason.
What Are the Talkies Saying? .
Gay commentary on behind-the-scenes happenings.
They Watch Their Step ....
The stars budget their earnings so as not to spend too
Information, Please .....
Authoritative answers to readers' questions.
. Laura Ellsworth Fitch
. Samuel Richard Mook
• • • * • •
Norbert Lusk
Madeline Glass
. William H. McKegg
. Margaret Reid
. A. L. Wooldridge .
Grace Kingsley
. Ann Sylvester
much.
. The Picture Oracle
59
60
63
64
68
69
71
74
83
86
89
102
CAN TOU WRITE A THEME SONG?
DERHAPS you think it is as easy as falling off a log, particu-
* larly after hearing some of them. It is and it isn't, depending
entirely on what talent you have and what opportunities you find
for its expression. But there's certainly a demand for them, and
to-day is the time when song writers are enjoying success more
largely than ever before — some of them amateurs, but most of
them with many popular ballads to their credit. Whether you are
an amateur or a professional, you can't fail to look forward to
Virginia Morris' article in January PICTURE PLAY. She traces
the theme song from its earliest beginning — further back than you
might suppose — and tells just how they are written to-day and by
whom. Besides this, she gives a great deal more unusual informa-
tion on the subject and conscientiously points out the difficulties, as
well as the ease and the rewards, of establishing oneself in the
newest of professions — writing music for the movies.
DID IT EVER OCCUR TO YOU
THAT the stars have dual personalities? Of course you have
wondered if your favorite is just the same off the screen as on
— every one does that. But Myrtle Gebhart goes rather further
and proves to you that in several striking instances the stars have
a dual personality — a real one and another brought out by the cam-
era. Thus you may vastly prefer the true personality of some one
you dislike on the screen, to the off-screen personality of a star you
idolize. It is a most unusual story and Miss Gebhart's ability to
delve into the least-known side of the stars has never been more
manifest than in the story she has written for next month.
Samuel Richard Mook has investigated the always interesting
subject of fan mail — what it consists of, why certain stars ignore
requests for photographs, and why others send them when they
aren't even asked for, as well as how much — or how little — letters
mean to stars in determining their popularity. Look for this story;
you are sure to be amazed by it.
Indeed, you will react with amazement to more than these fea-
tures of next month's contents, for they are only a few items in what
we confidently believe will prove to be the strongest issue of
PICTURE PLAY in a year.
Advertising Se< i ion
ifc BROADWAY
Broadway — 3Iecca of millions . . . now the round-1 lie-
corner resort of all America, thanks to Vitaphone!
Vitaphone obliterates the miles that used to separate yon
from the Street of Streets, and, brings Broadway to you.
From the world's great stages, Vitaphone is transplanting
the most celebrated singing, dancing, and dramatic stars
and "acts" to the screens of thousands of theatre*.
Check up on the attractions at your local Vitaphone
theatres every week. Events are on the way which yon
will not want to miss. The Vitaphone sign on a theatre
is a trusty guide to the best of good times. It guarantees
not only perfect voice reproduction, but also the foremost
stage and screen stars in productions of the highest
calibre. Look for it before you step up to the box-oflice.
iw« n-tl traitv mnrk i>f thf J'ilitfthtiru: Corpor
.CVr
hear Vitaphone only in Warner Bros.w First National pictures
c/3
^o
What tke Fans Think
Was "Coquette" a Success?
I HAVE finished asking two hundred persons what
they thought of "Coquette," and only eight enjoyed
or even liked the picture.
Alary Pickford has been "America's Sweetheart" for
eighteen years. She was an ideal. Her pictures were
clean, sweet, and inspiring. She was the type of girl
every boy dreams of as some day having for his wife.
A beautiful, sympathetic character, always portraying
the lovable, protecting a suffering animal or helpless
child. None of her pictures was ever clouded with sex
stuff, poor casting, or any of the ills so common to most
pictures.
As one of the few fortunate fans, I have seen every
film Miss Pickford made since the old Biograph days.
The public depended upon her to give them such pic-
tures as "Pollyanna" and "Rebecca of Sunnybrook
Farm." But all of a sudden, Mary decided to "grow
up." She made "Rosita," cast as a Spanish girl, Mary
of the golden curls, a seiiorita ! Mary of the madonna
face and praying eyes. Could any role be more unsuited
to her? A role literally screaming for a dark-eyed bru-
nette ! And even after this, she still felt the urge, and
made "Dorothy Vernon," which suited her much better
than "Rosita," but "Sparrows" was kinder to Mary and
brought back memories of her former triumphs.
When Mary Pickford cut off her hair she did some-
thing that would be very hard to define in mere words.
Literally millions of her fans mourned the loss of those
golden curls as sincerely as though they were their own.
Mary cut off her hair — and for what ? Some say to
become the popular flapper type, but does she make a
good flapper? As one of her faithful followers, I be-
lieve her to be the least interesting flapper I have ever
seen. In "Coquette" a very strange situation presented
itself. Although Mary has the figure, mannerisms, and
even the face of a child, and she appeared as a flapper,
yet she suggested some one a little too far along for
the wind-blown bob and kittenish vamping she tried
vainly to accomplish.
This is hard to explain, because in "Sparrows" she
was the little girl of old, with no hint of maturity, and
this fact is admitted by those who saw that picture.
Can any one explain how Mary Pickford, who has
been in pictures since their birth, could cast herself in a
role so utterly foreign to anything she has ever attempted
before, and one so completely unsuited to her?
Did she believe that the public wanted something so
different that she must bob her famous curls and trans-
form her lovable self into a simpering flapper? And if
she could so far forget herself, what were her family
and friends thinking of not to dissuade her?
It is almost unbelievable that our Mary should trans-
form herself into an everyday, commonplace, young
woman devoid of charm, considering the splendid mas-
terpieces she has made. Now that she can select her
own pictures and is not bound to a producer, she could
do anything. After such masterpieces as "Tess of the
Storm Country," "Poor Little Rich Girl," "Hearts
Adrift," and "Little Lord Fauntleroy," "Coquette" was
simply unspeakable — without moral or reason. It is true
that times have changed, that we are living in a modern
age, but men and women still love the beautiful in life.
The public adored Mary Pickford for her sweet, sym-
pathetic roles. They loved and wanted the old Mary,
and most of them keenly resented the stranger who
played "Coquette."
QUEENIE DANCIGER.
1901 Grand Avenue,
Fort Worth, Texas.
As a Briton Hears It.
No talkie was boosted more than "The Broadway
Melody." and, considering the time and money spent
upon it, one would expect to find it free from obvious
faults. Unfortunately, this is not the case, as I shall
endeavor to point out.
Let us take the singing. The word "melody" should
be sung without the singer pausing in the middle of the
word to take breath. Charles King sings it "Melo-(long
pause for breath) -d-e-e-e-c." Another serious fault is
the slurring of two or more words together as one. For
instance, there are words in one song, "For I'm content,"
which Charles King joins together and sings as "Fryme
contint."
In the dialogue he is guilty of the same faults. One
phrase is "They were in," which he pronounces "They
we — rin." Another occasion he speaks of "an agent"
as "a nagent." Another sentence is, "You have not seen
their act," which he interprets, "You have not sin the —
ract." The description by Anita Page of a birthday cake
as "elegant" is a misuse of a rather attractive word.
Bessie Love also shouts, "Butcha yaller" instead of,
Continued on page 10
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Continued from page 8
"I*.ii! you're yellow." There arc also sev-
eral instances during the film in which
the words spoken are completely inaud-
ible, whereas, by way of contrast, in one
passage where Warriner makes love to
Queenie, his voice sounds as if it is con-
veyed through a huge megaphone in a
deep bass tone.
T. S. Steuart.
The Birks, Purley, Surrey, England.
She Knew Gary When
Having seen so many letters recently
about Gary Cooper, I hope Lillian will
pardon me if 1 indulge in an amused
smile after reading what she writes about
him. "Shy, reserved, sincere, dignified.''
Maybe.
I knew Gary years ago in Bozeman,
Montana. At that time his neighbors con-
sidered him merely dumb and very, very
conceited. I suppose, if an actor reaches
the height of dumbness he is considered
dignified.
His press agent seems + o be building
a story around this young man which
states, in effect, that he is so very re-
served he cannot talk about himself — or
even recognize old friends. If he is so
timid and shy, how does it happen that
he is engaged to Lupe Velez, that Mexi-
can volcano?
I'm not saying anything to detract from
Mr. Cooper's glory. He is an average,
everyday young man, fairly nice looking,
with a slight touch of the charm of Wal-
lace Reid. He has one or two expres-
sions, a frown and a scowl, which seem
to appeal to inhibited young women with
yearnings for a cave man.
I'm very glad Gary has made such a
success of his career. Personally, I con-
sider him lacking entirely in "It" or sex
appeal. If I had to choose between Ches-
ter Conklin and Gar}-, Chester w-ould re-
ceive my vote. Marie Price.
San Pedro, California.
Fans Unconscious Comedians?
Have just made the acquaintance of
the "What the Fans Think," and was I
impressed? Hey, hey! I was completely
bowled over, knocked on the head, and
reduced to near hysterics by this collec-
tion of odd opinions. Is it a kick? Baby!
It s one like a mule's — straight to the fun-
ny-bone. One fan is off Gary Cooper for
life, because Lupe Velez bit him on the
ear. My goodness gracious ! Any one
who has ever seen the small but smolder-
ing Lupe can easily guess that if she
wants to bite a man on the ear, that man
can then and there consider his ear bitten.
What Lupe wants, Lupe gets, so why
blame Gary? True, he furnished the ear
— Gary, you really shouldn't leave your
ears around so careless, to be bitten by
joyous young females.
And, ah, what's this? Another fan
speaks right up, disowning Dick Barthel-
mess because he likes "The Front Page."
Bless my soul ! That was rather rash of
Richard, who should have picked out
something more refined. Mend your ways,
Brother Barthehness, mend your ways!
And here's Gary again. This time our
big boy, when appearing in person, didn't
smile brightly and cheerily, flash his teeth
at one and all, and wave his hand in
brotherly comradeship. Therefore, this
fan will in future never look upon Gary's
face again, much as he loves him. Gary,
it's all for your own good. Time out,
while Gary breaks down and sobs in bit-
terness — sound effects by Western Elec-
tric.
Personally, I admire Doug Fairbanks
and Mary Pickford, and have been doing
it for years. If somebody should bob up
Wkat the Fans Think
on a surf board and whisper that Doug
was a cream-puff addict and that Mary
was known to take delight in pitching ripe
tomatoes at her departing guests, I would,
strange to say, go right on admiring their
work on the screen. I'm funny that way.
I think the players must get a terrific
kick out of "What the Fans Think." I
think it's hilarious, and the unconscious
comedians who contribute deserve a hearty
vote of thanks. Here's mine.
Rose Palonsky.
628 Fourth Avenue,
San Francisco, California.
Do Stars Appreciate Letters?
Now, I, too, want to complain about
this business of missing quarters. Who
gets them? How I wish I could answer
that question ! I see by the number of
other people who have complained, that
I am by no means the only disappointed
one. If we send our quarters we get
no pictures, and if we don't send money
we don't get any, either, so how are we
to obtain pictures of our favorites? Gee,
can't something be done about it We
can, as Bill Batty suggested, "shut up
and save postage," but even that doesn't
get us our desired photos.
The stars must realize that we fans,
and nobody else, get them where they are.
I've come to the conclusion that they
don't give a cent for our letters. Many
of the fans have called some of the stars
high-hat, because they failed to send pho-
tos, and I, too, want to second that sug-
gestion. However, I have found a few
who are not high-hat. But not even
money will succeed in getting me a photo
of Greta Garbo, Joan Crawford, or Con-
rad Nagel, Dolores or Helene Costello.
Won't some one suggest an idea by which
we may get photos of our favorites?
I should like to add a word of praise
for Raymond Hackett, because of his
splendid work in "The Trial of Mary
Dugan" ; for Billie Dove, because of her
splendid work in "Careers" ; for Anita
Page, Sue Carol, David Rollins, Lola
Lane, Sharon Lynn, and Grant Withers.
Verlene Crane.
535 Hampton Drive,
Spartanburg, South Carolina.
Down with Eddie Nugent!
Of all the asinine amateurs now dis-
gracing the screen, I think Eddie Nugent
is the worst. M.-G.-M. seems to think
that he is cute or funny or something, for
they put him in every possible picture.
He certainly has ruined a few for me.
Take that really excellent film, "The Duke
Steps Out." In almost every close-up of
Bill Haines or Joan Crawford, we had
to suffer the mugging of that young ham.
I hear he has been cast in "Untamed,"
with Joan Crawford. I certainly shall
not see it, and I'm sure there are hundreds
of others who won't, because they hate to
see what might be a good picture ruined
by a supposedly funny person.
I certainly disagree with those fans who
say Alice White cannot act ! She is a
far greater actress than Clara Bow and,
in my opinion, has it all over Garbo —
such slosh !
It's a pity we have to listen to such
screeching as Baclanova gave in "A Dan-
gerous Woman," when we can hear youth-
ful and charming voices like Alice White's,
in "Broadway Babies." In a year she will
be the biggest star there is on the screen.
Washed-out personalities like Bow, Bacla-
nova, Eagcls, Garbo, and Vilma Banky
should be eliminated; but, first of all,
down with that bumptious young upstart,
Eddie Nugent. Lola.
Victoria, British Columbia, Canada.
About Love and Art.
I heartily agree with J. Ernest Browne's
opinion of love on the screen. Charles
Farrell and Janet Gaynor, Vilma Banky
and Ronald Colman are a few who show
us real, appealing love as it is.
To be perfectly honest, I like Sue Carol
and Nick Stuart a lot ; but, as far as I
can see, they do not belong on the screen,
as they simply cannot act.
Ruth Chatterton is, I think, a real art-
ist. Before I left New York, I saw a
few of her pictures, for which I consid-
ered myself lucky, because she has only
made a few. I was very sorry that "Ma-
dame X" was not released until a few
weeks after I left. Ruth Chatterton is,
I can say, about the only actress from
the stage that I admire, and I sincerely
hope that all the fans will like her as
much as I do, and that she will be a great
success. A. Sue Content.
Grand Hotel, Antwerp, Belgium.
Favoring Stage Stars.
There seems to be quite a controversy
over the influx of stage stars to Holly-
wood, the Mecca of the talkies. Letters
have been written for and against ; but,
sadly, I find mostly against. I wonder
why?
Any one who saw "The Letter," in
which Jeanne Eagels did such marvelous
work, can readily understand what I am
going to say. In this superb production
we saw Miss Eagels run the whole gamut
of human emotion. We witnessed the
struggle of a woman with herself, and
most of us hated her. Yet, when I left
the theater, I had no greater admiration
for any actress than I had for Jeanne
Eagels. She has given the screen the art
that has thrilled Broadway for years, and
we who were not fortunate enough to
have seen her plays should thank talking
pictures and Paramount for such a su-
premely fine gift.
Yet, in spite of the magnificence of her
screen triumph, it seems there are those
who criticize the advisability of having a
stage star in pictures.
Ruth Chatterton is another great exam-
ple of what the stage can contribute. Her
accent, though pronounced, is delightful,
and her performance in "The Doctor's
Secret" made the character live in spite
of impossible lines.
Both the aforementioned actresses have
shown us something different in character
portrayal. Their sojourn has been de-
cidedly worth while, and I hope the fans
show their intelligence by applauding them
when they so justly deserve it.
Then there is that other side. There
is plenty of good material right in Hol-
lywood. "The Broadway Melody" proved
that. However, this picture was light
entertainment, while Eagels gives us the
drama on the audible screen that Garbo
gives us so grandly in the silent film,
and which I sincerely hope she'll be able
to give us in the talkies.
It is up to the fans to give laurels
where they belong, to open their eyes to
the possibilities of great stage stars, and
not to let prejudice ruin their judgment.
Alan E. Phillips.
1632 Hollywood Crescent,
Victoria, British Columbia, Canada.
Down with the Talkies!
What a sad tragedy for millions of
people in our land would be the passing
of the silent drama ! The producers con-
tend they are giving the public what it
wants, but that is not true. They are
making talking pictures for commercial
Continued on page 12
An\ i.im i.-i \<. >e<
II
"What ? Learn Music
by Mail Tthey laughed
Ves, I cried, and III bet
money lean doitf
IT all .started one day alter lunch. The
office crowd was in the recreation-room,
smoking and talking, while I thumbed
through a magazine.
"Why so quiet, Joe?" some one called to
me.
"Just reading an ad," I replied, "all
about a new way to learn music by mail.
Says here any one can learn to play in a
few months at home, without a teacher.
Sounds easy, the way they tell about it."
"Ha, ha," laughed Fred Lawrence, "do
you suppose they would say it was hard.'"
"Perhaps not," I came back, a bit peeved,
"but it sounds so reasonable I thought I'd
write them for their booklet."
Well, maybe I didn't get a razzing then!
Finally Fred Lawrence sneered: "Why,
it's absurd. The poor fellow really believes
be can learn music by mail!'
To this day I don't know what made me
conic back at him. Perhaps it was because I
really was ambitious in learn to play tin-
piano. Anyhow, before I knew ii I'd cried,
Yes, and I'll bet money I can do It." Mat
the crowd only laughed harder than ever.
Suppose I Was Wrong —
As I walked upstairs to my desk I began to
regret my haste. Suppose thai music course
wasn't what the ad said. Suppose it was too
difficult for me. And how did 1 Know 1 had
even the least hit of talent to help me out.
If I fell down, the hoys in the
Office WOUld have the laugb on
me for life. I'.nt just as I was
beginning to weaken, my life-
long ambition to play and my
real love of music came to the
rescue. ,\nd I decided i.. go
through with the whole thing.
During the few months that
followed, Fred Lawrence never
missed a chance to give me a
sly dig about my bet. And the
boys always got a good lati'-'h.
too. Hut I never said a word.
1 was waiting patiently for a
chance lo gel the Ida! laugh
m |/8i ; '
What Instrument lor You.'
Piano
Organ
Vein.
Banio
(Plectrum.
5-String or
Tenor)
Clarinet
Flute
Harp
Cornet
Sight Singing
Harmony and Composition
Voice and Speech Culture
Automatic Finger Control
Piano Accordion
Italian and German Accordion
My Chance Arrives
Things began coming my way during the
office outing at Pine Grove. After lunch it
rained, and we all sal around inside look-
in).' at each other. Suddenly sonic one spied
a piano in the corner. 'Who can play?"
every one began asking. Naturally, Fred
Lawrence saw a line chance to have some Inn
at my expense, and he gol right tip.
"Ladies and gentlemen," he began, "our
Friend Joe, the music-master, has consented
to gl\ e ns a recital."
That gave the hoys a good laugh. Ami
some of them gol on either side of mi' ami
with mock dignity started to escorl me to the
piano. I could heai- a girl say, "(Hi. let the
poor fellow alone : can't yon sec he's morti-
fled to death?"
The Last Laugh
I smiled to myself. This was certainly a
wonderful setting for my little surprise party.
Assuming a scared look. 1 stumbled over to
the piano while the crowd tittered.
"Play 'The Varsity Drag"," shouted Fred,
thinking to embarrass me further.
I began Angering the keys ami then . . ■
with a wonderful feeling of cool confidence
. . . I broke right into tin- very selection
Fred asked for. There w a* a sudden hush in
the room as I made that old piano talk. lint
in a few minutes I heard a fellow jump to his
feet and shout. "Believe me, the boy la then '
Let's dance !"
Tallies and chairs were pushed B8ide, and
soon the whole crowd was shuffling around
huving a whale .a' a time. Nobody would
hear of me stopping, least of all the four fcl
lows who were singing in harmony right at
my elbow. So I played one
peppy selection after another
until I finished with "Crazy
Rhythm," and the crowd stopped
dancing ami singing to ap
plnnd me. \s | i timed around
to I hank t In m. tin re "as Fred
holding a tenspol right under
my nose
"Folks." he said, addressing
the crowd again, "I want t.
npologize publicly to Joe I b< I
him he couldn't learn to play
by mail, and believe me. he
sure d's. rves to win the
money !"
"I, earn In pla.v lm mail I"
Pic-"lo
Guitar
Hawaiian
Steel Guitar
Drums and
Trips
Mandolin
Cello
Ukulele
Trombone
Saxophone
exclaimed a dozen people. "Thai sound
possible ! Tell ns how yon did it '
I was only too glad to tell them how I'd
;iiwa.\s wanted to play but couldn't afford a
teacher, and ildn'l think of spending \ears
in practice. I described how I had read the
U. s. School of Music ad. ami how Fred '"'
me I COUldn'i h'arn to play liy mail.
"Polks," r i [nurd, "It « i
my I i r«- win n I gol the aril tenon. I: srai tun rlcM
1 1 on, tii,. start, CTerythlr a* A-B-C
no -.it-, ..i i ii < some exercise \t ■
quired was part of my ipare time. In i t
ivas playlm
I wanh I it. Hen tin
t 1 : with Prod."
Play Any Instrument
You. too, i. in inn teach yourself
pllshed musician right
time. You iiu't *•< ivmnjr with thl-
nrhlch has tlready shown ores half i million
in plas iii.it i iv. lite Instruments by note. '
• ld-1
■ truin. nu In tli. |. .ii.I. :■
one V'.i Mint to i.li v and '!..• r. s School will
I
N
"Ill l.o Interest I ia I. .
dorful
Send for Our Free Booklet and
Demonstration Lesson
' hlllly until
. mnrksblo "Mu Ii .1 Mill
■ nllrcly irtlhi
If via .it.- In
favorite
I n r populat
I
plain tlili r.
Mill lilt nrW Automatic F mgrc Cuntml
eounon now i
N. 1 C.
U. S. School of Mu»ic,
5312 Brunswick Bids., New
Y
r^rk City
Ml.
Tout Own
111 Inir
' SI
your .
1
12
Continued from page 10
gain. Why should they be allowed to
force them on us, when it is evident that
the majority abhor them?
In their present stage of development
the} are abominable, with hollow, un-
canny, grotesque, and unnatural voices,
which are not even understandable most
of the time. It is doubtful if they will
ever be perfected, for all mechanical de-
vices of sound are the same after years
of experiment. So why experiment on
the poor public long?
Also, the public won't stand for hav-
ing its favorite stars thrust aside for re-
cruits from the stage, with new and
strange faces, and not at all handsome,
either. It is an injustice both to the stars
and their fans. VVe all admire Charlie
Chaplin for his courage in refusing to
make talking pictures. It is true that we
were just beginning to get better pictures
on the screen when along came talking
pictures, and now what do we have? No
more stories with plots, but just strutting
and songs, or a display of a few stage
actors in dialogue. And how ridiculous
to try to screen "The Desert Song."
We still have phonographs aplenty to
give us all the music and dialogue we
want, for those who like that kind ; but.
tor goodness/ sake, keep vaudeville, sing-
ing, and dancing on the stage, where it
belongs, and give us back our screen
favorites who have endeared themselves
to us all; and give us hack the silent
drama, with all its beauty and charm.
Dayton, Ohio. V. C.
From a Scholarly Fan.
Did it ever dawn upon any one that
such things as dictionaries may be inter-
nal ly decorated in more ways than one?
That is, instead of congesting several
thousand pages with meaningless defini-
tions of nouns, verbs, and the like, do
you realize how interesting it would be
to compile a dictionary of your favorite
performers?
For instance, below is a very much
abridged dictionary of my favorite stars,
arranged in alphabetical order. I have
attempted to define them, and at the same
time give synonyms and antonyms in most
cases. I might mention as a mere editor's
note that in all dictionaries the lexicog-
rapher is confronted by certain words
which express an idea so perfectly that
no synonym could justly be Used as com-
parison.
Olive Borden. 1. Agreeable to the eye
or to good taste. 2. Well proportioned
and of pleasing dimensions. Syn.: Sue
Carol, Mary Nolan. Ant.: Greta Garbo,
-Myrna Loy, Renee Adoree.
Clive Brook. (Eng.) 1. Deserving of
greater acclaim by audiences. 2. One
who speaks English to perfection. Syn. :
H. B. Warner.
Lon Chaney. 1. One of a group of
really great actors. 2. One of a very few
whose popularity has been attained by
merit and not by physical attractiveness.
Syn.: Emil Jannings, George Bancroft.
Charles Chaplin. 1. One who studies
the art of being funny with care and pre-
cision. 2. A person who is capable of
provoking laughter on all occasions. Syn. :
liuster Keaton. Ant. : Harry Langdon,
Eddie Cantor, George Jessel.
Marion Davies. 1. One of a rare spe-
cies of femininity capable of entertaining
through the medium of light comedy. 2.
A female who can be facetious, refined,
and attractive, all in one show. Syn. :
Madge Bellamy. Ant. : Bcbe Daniels,
Fannie Brice, Texas Guinan.
Leslie Fenton. 1. Shadowed by unfor-
tunate breaks; unlucky. 2. One possess-
ing innate ability for dramatic expres-
sion. Syn. : Ralph Forbes.
What tke Fans Tkink
John Gilbert 1. One who is extremely
handsome and romantic. 2. A person
who can play a great lover one time and
a virile he-man another, with equal con-
viction and sincerity. 3. Having the
power to attract members of both sexes
by his warm personality. Ant.: Ramon
Novarro, Gary Cooper, Nils Asther, Ben
Lyon, Gilbert Roland.
George O'Brien. One who is best
deserving of the term "ideal American''
among his associates in Hollywood. Syn.:
Charles Farrell, William Haines. Ant. :
Adolphe Menjou.
William Powell. 1. Capable of making
every role a great one by virtue of sin-
cere treatment and careful study of de-
tails. 2. One famed for "stealing" pic-
tures before the very eyes of the great-
est actors in the business. Syn. : Lewis
Stone, Tully Marshall.
Eric von Stroheim. 1. Any combina-
tion of rare talent that goes toward mak-
ing a real genius. 2. One gifted with an
alchemic power to bring certain dormant
human attributes to the surface in others.
3. The name of the greatest director the
world has ever known or ever will know.
Fay Wray. 1. The one actress who
best befits the term "ideal American
girl." 2. One who is intelligent, refined,
beautiful, and spiritually charming. 3.
The name of a really fine actress. Ant.:
Clara Bow, Alice White, Joan Crawford,
Nancv Carroll. Donald MacCampbell.
1010 South Forty-fifth Street,
Philadelphia, Pennsylvania.
"There Is No Age."
"The Switchboard Operator" certainly
roused my ire when she brought age into
the question regarding John Mack Brown
and Mary Pickford playing together. No
matter what her years, Mary is youth
incarnate, and she is just as young as she
looks. This business of prying into the
ages of the stars is beyond me. In the
first place, there is no age, except man-
made years, and, in the second place, the
stars' lives are their own — we only pay
to see them act! Only jealous old-fogey-
ism is constantly counting up years. Truly
young and joyous folks remain in that
state because they refuse to count up
years. In God's sight there are no years,
anyway. So forget them and you'll be
lots younger yourselves, and so will the
stars. For my part, the less I know re-
garding a player the more interesting be-
comes the picture itself.
D. E. Bilsox.
Palm Avenue,
Los Angeles, California.
Figure That Out.
All thi- talk of the stars not answering
letters and keeping quarters makes me
anxious to add my word.
I wrote Richard Barthelmess, inviting
him to become an honorary member of
the club of which I am president. In
about six weeks a printed card came back
to me, with the prices of his photographs
on it. And I hadn't even mentioned a
photo. How do you figure that out?
Clara Bow, Mary Brian, Neil Hamil-
ton, and James Hall did the same thing
exactly. Do the) - just take it for granted
that we want pictures?
Elizabeth Mayxard.
1 Doden Lane,
Flushing, Long Island, New York.
A Word for Old-timers.
Most of the actors get better every
year they're on the screen, I believe.
Betty Compson is a fine example. When
Miss Compson was playing for Para-
mount, her acting frequently left much to
be desired. Her recent appearances place
her in the front rank. She looks finer
than ever. Anita Stewart, Theda Bara.
Jack Pickford,* Nazimova, Cullen Landis.
and Henry B. Walthall and others are
among the best actors the screen has ever
had.
I read recently that Theda Bara was
making voice tests, and I hope that some-
thing definite comes of them very soon.
There should certainly be a place on the
screen for these old favorites. Just be-
cause they seem to have dropped from
view is no sign that public interest in
them has entirely abated. Of course, I
have many favorites among the newer
stars, and I think some of them are due
for long careers.
Several nights ago I saw one of the
most beautiful pictures it has been my for-
tune to see for some time — Ramon No-
varro, in "The Pagan." I have read all
the letters comparing John Gilbert and
Ramon Novarro. I should like to know
in what picture Mr. Gilbert gave as beau-
tiful a performance as Ramon Novarro's
Henry Slwcsmith?
Theodore T. Cavanaugh.
246 Hackensack Street,
East Rutherford, New Jersey.
Moviegoing Is Complicated.
'Tis a strange, new film world to which
the talking pictures are introducing us,
all unfriendly and forbidding, and I am
finding it very difficult to adapt myself
to it. No longer can I choose my enter-
tainment by selecting one of my favorite
film stars. They are not there any longer !
Unfamiliar -names greet my eyes every-
where, emblazoned on placards and elec-
tric signs — "The Four Marx Brothers,"
in "So-and-so" ; "Helen Twelvetrees," in
"This" ; "Walter Huston," in "That."
Great stage stars in the States, maybe,
but their names convey just nothing here.
We've never heard of them !
No doubt these people give very ad-
mirable performances, but I'd rather they
had stayed on Broadway, where they are
probably more appreciated, and let the
screen stars continue to top the bill.
Names like Ronald Colman, Gary
Cooper, and Charles Farrell are world
renowned and really mean something.
Constance Colby.
160 Farnaby Road,
Bromley, Kent, England.
A Retort to Barthelmess.
Recently we read of the snobbishness
of Richard Barthelmess in Mexico City,
when • he said, "I am a married man and
not interested." Please send him this lit-
tle message from us : "Since you are
married, we are not interested. We used
to walk miles to see your shows, but now
we wouldn't go to one even if it were
across the street."
Alice White is the biggest ninny we
ever saw on the screen. She is nothing
but a mockingbird trying to act like Clara
Bow. But she never will.
Here are four enormous bouquets and
ten thousand rah-rahs! First, for Gary-
Cooper, that tall, handsome, real, hon-
est-to-goodness man, who can really act
and seem natural. Second, for Neil Ham-
ilton, that real comedian. Third, for
Johnny Mack Brown, that handsome, tri-
umphant, capable young hero who scored
such a success in "Coquette." And, last,
but far from least, for Conrad Nagel,
who has the most admirable voice, win-
ning personality, and who is the greatest
actor on the screen.
Helen Mackenzie,
La Verne Wright.
Monmouth, Oregon. Con QI] page 94
Advertising Section
13
OH, YEAH !
with
ROBERT ARMSTRONG and
JAMES GLEASON
A comedy of that claea of society
which travels under, not in, Pulhnana.
Directed by TAY GARNETT
RED HOT RHYTHM
with ALAN HALE
A picture thut Uirri9"Tin Pan Alley"
inside out and reveals its human side.
Directed by LEO McCAREY
Supervised by
WILLIAM CONSELMAN
CONSTANCE BENNETT
•n RICH PEOPLE
A look at life from the viewpoint of
those who have so much money they
can't pet out from under its depressing
in 11 fir; u .[
Directed by
EDWARD II. GRIFFITH
RALPH BLOCK
Associate Prod urcr
% WILLIAM
BOYD
\
<76's jwst Command
tvitk Dorothy SebastUm
All the world loves a lover and a "rookie" — and William
Boyd is both in this romantic story of the making of a
"first-class fighting man." The scene of the action is laid
at renowned Fort Riley in Kansas, around which so
much thrilling frontier history was written in the days
of the old West.
The participation of the entire Second and Thirteenth
U.S. Cavalry regiments lends an authenl i<- military flavor
to HIS FIRST COMMAND that quite lifts it out of the
realm of "make-believe." If you want action, thrills,
laughs and romance, see it when it comes to your local
theatre !
Directed by <;RK<;oHY IV CAVA
KVLPII HI.O< k. \ tiate Producer
ALL MUSIC-ALL SOU ND-A LL DIALOGUE
Pafhe & Picture
14
Advertising Sfxtion
D
n
o you \\(h)\ the Truth about
NIGlttaiJBHOST£SS£S?
Are they as bad as they're
painted — or are they Painted
Angels? Are they on the
square when they play around? Doe9
turning night into day turn their hearts
into cash registers? — Come to Dif lie
Dove's own night club and find out!
"The Painted Angel" will show you a
new and more exciting Billie Dove, in
show-off costumes, doing song and dance
numbers that are just as clever as she is
beautiful. You'll see and hear an honest-
to-Broadway night club show— with the
cover charge "on the house." And you'll
see what goes on when the lights go off,
and sham turns to sorrow, and a world-
famous beauty finds that love has made
her the biggest "sucker" of all !
Vitaphone" h the registered trademark oj the Vitaphone Corporation ,
la
PICTURE PLAY, December, 1929 Volume XXXI Number 4
at last comes to the screen in the musical com-
Photo by Elmer Fryer
Marilyn Miller, she of the twinkling toes and thistledown airiness
edy with which her name is always associated — •"Sally." Photographed entirely in color, it tells tlv if an
orphan waitress who hecomes a dancing sensation and marries a millionaire— surely as fabulous a story as
"Cinderella" and as popular a one. Here Sally is seen dancing at a fete champbtre, where her humble origin is
made public and she flies away in supposed disgrace, only to be found and tunefully wooed by Alexander Gray.
16
Photo Ijy Uinthc
Simplicity, even frugality, marks
Greta Garbo's mode of living.
good
WHAT movie people do with
their money is perhaps
their own business, but
Heaven help them if they aren't
spenders in Hollywood !
There what they do with their money
is everybody's business. The quickest
way to achieve celebrity in pictures is not
to spend when you are expected to ; it's so unusual
that it's sensational.
The gossips seize upon any indication of
"Scotchiness" or conservatism to start their bally-
hoo. They will talk about an incident indicating
financial resistance for months, perhaps even
years, after it has happened. They have never
forgotten about the monetary inhibitions of
Charlie Chaplin in the old days, any more than
John D. Rockefeller, with his donations of
new dimes, will be obliterated from memory
of the general public. If there is laughter
or deep attentiveness at a klatsch it is due
generally to one of two things — somebody's
romantic indiscretion, or an evidence of
tightness on the part of some one who was
supposed to respond to the good, old request
of "Gimme."
Stars as a class are not skinflints, but they
all make mistakes at times in the proper,
liberal gesture. A few may be downright
tight, but they are the rare exception. The
habit of life will dictate to a girl who has
had a hard struggle, that she must not throw her money away. This
goes also for the chap who has waited long and patiently for recog-
nition, though women are more cautious than men in guarding the
pennies.
Of course, there are instances to prove that at certain times in
their careers players must have been, without reason, just a bit
miserly, and that is using a mild word to describe it.
There was, for example, the wealthy star who invited another
star to a lunch that consisted of pickles and coleslaw. It seems that
Stingy? No 9 Just
Time was when being really and truly a star meant
old days are no more. Now Hollywood finds more
holding onto their money. Read this entertaining
By Edxtfin
when the invitation was given, the rich star specified her apart- •
ment as the meeting place, and when her guest arrived, she
suggested that they go to the delicatessen near by and get some-
thing. On reaching it, she turned to the other and said, "You
like pickles, don't you, and coleslaw?" Then, without giving
her friend time to reply, she said, "Give me five cents' worth
of each, and we'll go back to the apartment and eat." That
was perhaps the lightest lunch on record in Hollywood, before,
since, or even during the eighteen-day-diet craze.
Other stars have grumbled over paying debts
and bills, and gone on living luxuriously all the
while. So much did this occur for a time that
some of the shops in Los Angeles were not dis-
posed to open accounts with movie folk, unless
well introduced and authenticated. It was often
discovered that those who caused the trouble
were living beyond their means, as is the
fashion not only in Hollywood, but many
other places.
Again, certain players have shown a very
small attitude toward those who did
them service, and more than one agent
or publicity man can tell hard-luck
stories of fees long overdue, and likely
never to come in. "Oh, he's a terrible
tightwad," is consequently not a phrase
unheard on the Boulevard.
Lydell Peck, Janet Gaynor's husband,
will not need to curb his wife's ex-
penditures.
Norma
above
Shearer
arguing
money.
isn't
over
17
er
Careful
flinging roses and greenbacks riotously. But those funr.y,
amusement in observing the strength of the stars in
article and judge the wisdom of each case mentioned.
Schallert
It is the spectacular, not the- small-time incidents, that excite
the most amusement and arouse the most comment, and that
people never quit talking about.
One such happened at the wedding of Rod La Rocque an<
Vilma Banky, an event that will always be looked hack to as
one of the red-letter days in the picture world, what with the
ceremony being very late and the arrival of Tom Mix in his
horse-drawn equipage.
The wedding reception was the scene
of a happening of unforgetable mirth-
fulness, when one of the guests attempted
to spear a turkey, and found that it was
playing only the role of a pro]) in the
festal banquet. Somebody with movi-
esque ideas had conceived the- notion of
arranging the buffet with scenic embel-
lishments in which turkeys, geese and
chickens, apparently nicely roasted, were
conspicuous. But after the ineffectual at-
tempts of the guest to procure a slice,
a vigilant servitor was placed on duty to
induce others to become interested rather
Artificial food was displayed at the Banky-
La Rocque wedding.
in chicken salad, olive-and-nut sand-
wiches, molded ice cream, and other dain-
ties. Samuel Goldwyn staged the wed-
ding, and a- his shrewd insight in busi-
ness matters was widely recognized,
coupled with certain statements he had
made denouncing newspaper people for
demanding too much hospitality, the inci-
dent of the turkeys immediately became
a Silas Marnerish titbit, widely recited,
and will perhaps go on forever. Actually
it might have been just a bit of clever
scene setting that went awry when hungry
guests started an attack on the edibles.
Another incident of an entirely differ-
ent character took place at a dinner of the
Academy of Motion Picture Arts and
Sciences, at which prizes are awarded for
the best work of the year to movie folk.
Janet (iaynor was the principal in this
affair.
.Miss (iaynor was being honored for
her work in "Seventh Heaven." and in
the preamble of the speech that he made
before the prize was given. William De-
Mille, as master of ceremonies, laid em-
phasis on the fact that the >tar did not
belong to the organization, even goin
far as to say, "I don't know why she
doesn't, but perhaps she will become a
member now." Janet ro^e. came forward
to get the prize, and took her bow to large applause. Everybody was
looking for her to whisper, at least, into Mr. DeM die's ear that she
would lie pleased to become one of the august assemblage to which only
the more noted stars belong. It would have been the appropriate
gesture.
But she only took the bow and retired, and her name isn't yet listed
on the roster. Perhaps it was the Stage fright that prevented her from
saying anything, and she forgot .about it later. Still, the question has
been raised more than once, in the inner circle, as to why she did not do
something about it. It was recognized, of course, that Janet's way to
Ronald Colman is self-
contained in everything.
13
Stingy? No, Just — er — Careful
Lon Chaney would give
everything, but his wife
let him.
Charlie Chaplin is Hollywood's
classic example of watchfulness.
success was difficult in the be-
ginning, and that she had to
guard her income with much
caution. The happening might
not have meant anything, had
DeMille not given it importance,
and it is just barely possible
that Miss Gaynor did not like
being railroaded into anything.
Adolphe Menjou has given
occasion for criticism on one oc-
casion, when he took what was
considered a very small matter
to the courts, suing for $25,000.
This was the time a haberdash-
ery firm manufactured and be-
gan to sell a tie called the "Men-
jou." Adolphe became exer-
cised about it, because he felt it did not correctly represent his sartorial
perfection. It was such a small issue, though, that it hardly seemed
worth the. $25,000 suit. However, it is probable that only by making
the amount as large as that he demanded could Menjou have stopped
the objectionable merchandising. The whole thing seemed more pica-
yunish than it was.
Closeness 01 liberality in money matters is all relative, and stars, if
they are criticized at all, are censured and kidded on that basis. If
Miss Gaynor had been making a few hundred dollars a week, instead
of $1,000 or more, the incident involving $100 initiation and $25 dues
would probably not have been thought about. If Menjou had not been
garnering $4,000 or $5,000 a week, the suit of $25,000 over a small,
bow tie would not have seemed
so foolish. — _ „
,,., , ... Ernest Torrence, a Scot as well as a
When players are beginning character actor, is not expected to
their careers, not much is ex- splurge.
pected of them. It is known that nowadays, especially, their
stipends are small, beginning around $50 or $75. It is diffi-
cult enough for most of the girls to dress as they should on
these incomes, and some of them have to resort either to
making their own clothes, or if they are very lucky, indeed,
to borrowing a nice dress from the studio wardrobe. Most
studios help out their contract players with such ministrations,
but the free lancer must rely on homelier domestic means to
attract the eye at the premiere, or other function.
The films are getting rid of a lot of their old flubdub — the
idea that every one to be a really successful star should fling
roses, roses riotously to the wind, and greenbacks. Norma
Shearer, for instance, is one star who freely admits the spirit
of conservatism, and colorfully traces it back to her Scottish
ancestry. Most stars in her position would socialize elab-
orately, but it is on the books that she has given only one
pretentious party. The week-end open house is not observed
at the Thalberg-Shearer mansion, as it is at others, especially in
the Metro-Goldwyn company. Also Norma has been known to
argue — well, a little — over money matters, especially when
it conies to paying salaries, and she does not employ a large
retinue. She is careful, though, to dress in the height of
fashion and make an elegant appearance at every premiere.
By contrast, Marion Davies is a munificent spender, but
she did not have the hard struggle that Norma did in the be-
ginning of her career, as it was well financed. She is also
gifted with the Irish spirit of liberality. To such lengths is
this carried in the all-inclusiveness of her guest list that one
restaurateur was heard to remark,
"My God, the restaurant business
will go to pieces again — Marion
Davies has come back to Holly-
wood !" Marion can afford all this
lavishness, because her personal for-
tune is said to total several millions.
Very few stars can count themselves
in her class.
Of the wealthier, Douglas Fair-
banks and Mary Pickford have their
inclinations toward conservatism, but
they are far offset by their generosi-
ties. One example of financial cau-
tion that they observed, especially in
Continued on page 100
L9
Just Fana?!
Cliff Edwards and Benny Rubin show what would
happen if certain figures of speech became actualities.
"Hewas all oiled up," right,
requires a different kind of
lubrication than you think.
Often you've said, "He was
glued to the spot." Well, Cliff
Edwards, above, left, and Benny
Rubin illustrate the metaphor
with results disastrous to Cliff.
And Benny, below, shows just
what a man docs when he
plays the piano by car.
When Benny R
left, gets hot tinder the
collar, Cliff Edward
always on land w
fire extinguisl
"His face fell," below,
and now what is poor
Cliff to do when he
plays his "uke"?
20
Richard Arlen and Jobyna Ralston find happiness in the seclusion of their lakeside home, which is always
open to the most "regular" Hollywood folk.
Checking Up On Dick
A close-up study of Richard Arlen shows that in spite of his rise to stardom, he is still the same natural
youth of his struggling days, and one of the few players who do not act in private life.
B? William H. McKegg
IT is either gratifying, amusing, or painful to check-
up on certain movie youths, on whom you have kept
an interested eye during their climb to fame, and
learn what new truths they have gleaned, since coming
into a new estate. You can weigh very few without
finding something wanting.
For the past five years I have been watching Richard
Arlen — from the time he played a bit in Colleen Moore's
"Sal!y," under his real name, Van Mattimore, from the
day he was placed under contract by Paramount, at
seventy-five dollars a week, and until he recently be-
came one of their stars.
Now you might think I'm joking in repeating the
trite, but often incorrect statement, that Dick Arlen is
the most untheatrical, natural chap you could ever meet
among the cinematic hordes. I know only about three.
Dick is one of them.
As an unknown bit player, during his first appear-
ance on the Paramount lot, Dick worked with various
one-time celebrities. I remember he greeted Agnes
Ayres and others one morning as he came on the set.
An icy silence was accorded him. His smile died away,
and he walked miserably over to a corner by himself.
These cuts used to hurt him. But to-day Dick has a
good laugh, while the former high-and-mighty ones have
faded into oblivion.
In those early days Dick was almost less than an extra.
He and Mary Brian were signed at about the same time,
but neither was given a chance at anything worth while.
While Lawrence Gray and Betty Bronson were getting
the breaks, Dick and Mary remained in the background.
To-day it seems to be the other way about.
My more intimate acquaintance with Dick really began
when I spent some time with him at Jacumba, on the
Mexican border, during the making of "Beggars of
Life." In the winter Jacumba is hot indeed. In sum-
mer, when we were there, it is like the nether world.
Not that I know, but I've been told what it's like by my
friend, Mr. Arlen.
At seven in the morning we left the small hotel,
climbed into a freight car and were taken to a desolate
spot ten miles from the town.
One morning we went to a horrifying spot called the
Carriso Gorge, an evil-looking place, through which a
shallow stream irregularly flows. To a sensitive soul
from Hollywood it looked exactly like one of Dore's
illustrations for. Dante's "Inferno." Steep, beetling
cliffs on either side made us all seem very unimportant.
We were in the depths of the abyss, among huge boul-
ders worn smooth by a torrent which comes hurtling
through the gorge in the flood season.
Dick and I were sitting in the shade. I felt a bit fed
up, because I wasn't allowed to wander away. The
reason being that he took delight in warning me not to
stray, because snakes abounded. The wriggling little
things hide under rocks and strike out at you for no
reason at all, except that you have no right to go wan-
dering alone in the Carriso Gorsre.
Checking Up On Dick
p
1^;;';
i
HPT"^*
. . ... T , .
no
^
kjw
P^wr»«^5^c'
^
Bm
Hi <
B '' L • «
*
sir*'
All worries are not confined to bad-luck eras, Mr. Arlen declares after a siege of solicitors and souvenir hunters.
Joseph Schildkraut once said in Picture Play that
you could chase him with liver. Well, you could run me
out of the country with a snake. So there you are. I
had to sit still and listen to Dick talk. Afterward I was
glad he had thrown the fear of snakes into me, and that
I remained with him.
"This is almost like it, isn't it?" Dick asked for the
third time.
I had just been wondering what would happen to the
troupe if the flood came before its time, and swept us
clear through the gorge, snakes and all, and what Para-
mount would say on learning that so much unused film
had been wasted.
"Yes, isn't it like what ?"
"Like hell," Dick explained.
I could only recall my Dante, and agree.
Mr. Arlen became classical, too, and designating some
of his coworkers, said. "We hobos seem right at home
here, representing all the vices."
"Si, sir/nor. Sluggishness, paganism, lust, gluttony,
violence, and treachery."
"Yeah! You know them all, don't you? Look at this
stream. It reminds you of what's-its-name? The river
what-d'you-call-it ?"
"Acheron," the classic scribe prompted, adding with
a throbbing voice, "on whose bank are crowds of lost
souls waiting for Charon to ferry them across."
But Mr. Arlen wasn't getting a word in edgeways, so
he silenced me with an authoritative gesture. He de-
clared I was too high up, and that the stream was really
the Styx, and that we were in the Citv of Dis, the lower
hell.
The terrific heat made me agree. Let it be any hell.
It couldn't be hotter, no matter to what depths we went.
Back at Jacumba, Jobyna Ralston, who is to Dick
Arlen what Beatrice was to my old pal, Dante, joined
us for dinner. Jobyna, the bridge champion, was anx-
iously waiting for us to swallow our meal, so the bridge
game could begin.
Nighttime was gorgeous. Wallace Beery — faithful
man! — drove to a near-by field to fly home every night
to his wife. Dick and T talked. Never once did he
allude to himself or his work. Not until I commented
on both.
"I used to worry a lot when I was fighting to get a
job," he told me. "The best thing that has come my
way is the fact that I have worked up to my present
position. I can leave all my worries behind.
"When you have no money, no possessions what
except the suit you are wearing, you learn what friend
ship means, which people are worth while, and w'
are fair-weather companions. T was always having
worries and troubles in those days. When you're di
and out you get all the troubles in the world — or -
seems."
"Wings," which brought Dick such fame with the
fans, had just been released. The future looked bright.
But T always think there was something symbolic in
getting to know him in that infernolike Carriso Goi
for Dick was just coming out of a hard journey
struggling.
Time has gone on, as it usually does, since 1 T dodged
snakes on the Mexican border. I )iek has achieved more
success and is one of the most popular of the newcon
to fame.
I noted all these happenings with relish, and felt it
was about time I paid him a visit at his home in Tuluc.i
Lake — now you know what I mean ! Not in the lake,
but by it.
He was sitting on his lawn under the shade
spreading tree. T was greeted with gusto, and we both
sat beneath the foliage. Jobyna was away at rehean
of a stage play.
Tt was nice to see Dick so well placed. His home, of
Spanish architecture, is very picturesque. Recalling his
joyful outburst a year ago about having left all his
worries with his bad-luck era. I remarked that in such
sylvan surroundings any one could be content and
happy, without a thing to trouble him.
"Worries?" Dick almost howled. "Say. I have ttion
things to worry me since I gained what success I have.
than when I didn't have a dime !"
This outburst was startling. But I didn't dare
my mouth, for all kinds of insects wire dropping upon
me from the overhanging tree. Before I could mutter
a protest, a stranger drove up and wanted to show Mr.
Arlen some things he bad for sale, and would Mr.
len see and possibly buy them? Dick crossed the lawn
and stepped over the ! sent the man off again,
without a sale, and returned to me.
"There you are!" Dick groaned. "It's like that all the
time. now. I don't dare sit out in mv own front gard
pie come up and speak to me. God knows how ,-
find out mv address. T suppose they've heard that I live in
Tuluca Lake, and go from house to house — to
many — until they get here. FS 1 ' ""I
22
Tne Stars 5 Secret Code
It consists of lending a helping hand to those less fortunate, and never saying anything about it, but it
never takes the form of charity. This intensely human story reveals the least-known side of Hollywood.
By Helen Louise Walker
Illustrations by Lui Trugo
ONE of the nicest — and least publicized — traits of
this fantastic film colony is its habit of taking
care of its own people. The traditional, generous
open-handedness of the stage is amplified here to extend
to all branches of the industry.
The custom cannot, by any stretch of language, be
called charity. It is a sort of code of give and take —
a business of the people who have jobs looking out for
those who haven't. And it is a pleasant thing to see.
It is one of the reasons, I believe, why people do not,
as a rule, get very rich in pictures, even when they make
large salaries over long periods. Because the moment
any one begins drawing any sort of salary he is auto-
matically called upon to look after one or several with-
out work.
While the salaries in pictures are large, the jobs are
frightfully uncertain, and nearly every one who is suc-
cessful now can remember times when he was broke
and possibly hungry. In all likelihood, some friend
or mere acquaintance helped him to tide over until his
break came, and now he feels an obligation to do the
same for some one else.
There is an unwritten and unspoken rule that no one
ever denies the possibility of any one's achieving suc-
cess. If you are down, the colony takes it for granted
that it is only temporary, and no matter how deeply
your talents are hidden, your friends will give you credit
for having some.
No one ever suggests that you abandon your dream
of acting or writing or directing, and go and get your-
self a job with a wholesale-grocery concern. They can
understand your sweeping out studios for a time,
but not your working in a filling station.
Stars, of course, or other members of the really
high-salaried groups, always have a startling num-
ber of relatives to support. It is perfectly amazing
how few actors have even a second cousin once
removed who is able to pay his own shoe bills.
But that is not the thing I mean. It is the aid
given to casual acquaintances which is surprising.
I know a writer and his wife, for instance, who
set aside a certain portion of his distinctly fluc-
tuating income each year for these purposes. They
have a comfortable establishment, and there is a
small house at the back of their grounds which
they lend to acquaintances who are unable, for
one reason or another, to pay rent. With this goes
light, heat, milk, and laundry, to say nothing of
loans of actual cash for emergencies. The "guest
house," I may add, is seldom vacant !
For some weeks last winter they had, as their
guest, a girl who had once been of some importance in
pictures, but who had slipped from her position because
of ill health. She had undergone a serious operation
and was completely helpless for a month or more, re-
quiring constant attention of the most careful sort, night
and day. She got it — along with sunshine, special food
and freedom from financial worry and, at last, assistance
in finding another position when she was on her feet
again.
Only a few days ago I heard a chap ask a friend for
money to make the payment on his typewriter, so that
lie might finish a story which he hoped to sell to a studio.
Me was behind on his installments, and feared that the
typewriter company would snatch the machine away
from him before the opus was finished.
Yet this same man had been keeping another chap
for several days who, he said, was worse off than him-
self, having no money, no food, and no place to sleep!
A month from now both these men may be drawing
hundreds of dollars a week somewhere — and spending a
goodly portion of it to help some one else. They have
both been in such positions before.
Not only money, but time — which is often less plenti-
ful — is given where it is needed, in the same casual
fashion. Carl Laemmle, Jr., that youthful and ever-so-
busy executive, left the studio every afternoon for weeks
to spend an hour or so with a prop boy who was his
friend and who was in the hospital seriously ill. Junior
will probably be annoyed with me for telling this, but I
think he is annoyed with me, anyhow, for a better
reason
People actually quarrel over the privilege
of looking after the needy.
Tke Stars' Secret Code
A young man told me oi a time, some
years ago, when he was working in a small
joh on the M.-G.-M. lot and, owing to some
trouhle at home, was in desperate need of
ready cash.
"I started across the lot," he said, "am
made up my mind that I would stop the first
man I met — whoever he was — and ask him
to lend me some money. The first man 1 saw
was Jack Gilbert. I doubted whether he even
knew my name — I was just a kid and had the
smallest sort of job there. But I stopped
him. 'Jack,' I began, 'I'm in trouble
and '
" 'How much do you need ?' he
asked instantly.
"I stammered that if he could let
me have a hundred dollars, it would
solve everything. He, gave it to me, then and there.
Never asked me what was wrong, or why I needed it— r
nor mentioned my repaying him. I did, of course, but
it took me a long time. And I know Jack never would
have mentioned it if I hadn't."
" For the most part, such loans arc not repaid, nor is
there any expectation of it. Picture people are a light-
hearted lot and give their money away without using
much judgment about it. I have never heard any one
inquire whether an individual was deserving before
helping him !
Richard Dix is known to be one of the most generous
of actors and of course he is imposed upon. I happen
to know that he was asked for money twenty-three times
in one day — and came through every time. Xo income
can stand a drain like that, and Richard's friends arc
in a constant state of alarm over his open-handedness.
When a certain actress had a period of bad breaks,
she sold her household furnishings. Her friends paid
two and three times what they would have had to pay
in shops for the articles, and one of them paid her four
hundred dollars more than the original price for her car!
One young writer tells me he lived for four months
without any money. His friends invited him out for
all his meals and lent him enough for rent and cigarettes
the first of every month.
"I really think," he remarked, "that if I hadn't got
a job, I could have continued on like that for a year
or so."
In case of any spectacular need, as when some one is
ill and cannot work for a time, the purses of the entire
industry open with the greatest promptness — even the
purses of those who do not know the unlucky individual
by sight. If he is Hollywood's own, Hollywood will
take good care of him.
I have seen people
squabbling in the most
undignified manner
over who is to be al-
lowed to assume re-
sponsibilities of this
sort.
Jack Dempsey and
Estelle Taylor became
very indignant once
when other people of-
fered aid to some one
of whom they had
taken charge.
You are likely to
find strange individ-
uals living in homes
of your friends. The
presence of these odds
Stars always have a
startling number of
relatives to support.
In time of need it's all right to earn money by sweeping out
a studio.
and ends "i hu-
manity ma)
haps never be
explained to you,
I) u t y O U can
pretty well
pend upon it that
they arc the ob-
i of tin- I
ual good will oi
their hosts. They
are treated for
all the world like
favored gu<
and the chances
are that there is
real affection be-
tween them.
Sometimes the guesl will be an actor or a director of
a bygone day, and the friendship will be one of long
standing in the profession. Again it will be a youngster,
who needs a little boost while he is trying to :',et started.
But there he is —as much at home as a brother or sister.
a situation peculiar to Hollyw '•
I sat in the office of a woman well known in the pic-
ture business the other day. Another woman entered,
one of those most irritating and pathetic spectacles in
the whole industry — tin- mother of a movie child.
"I am going to be turned into the street to-morrow,"
.she said. "What an- you going to do about it?" And
she sat back, with folded arms, having Cast her burden
upon another, a more efficient pair of should'
My friend gazed at her with some dismay. "Dear!
Dear! Why didn't you tell me sooner?" she fluttered.
Then, after a few moments' thought, "Well, I think 1
know where I can get you something to do. If not.
you'll just have to bring your little girl' and stay with me
until we can get you settled !"
And she dropped her own important work to scurry
around, looking after a woman who was trying to live
by exploiting her child.
I heard another motherly woman talking to a young
actor at a tea party a day or two ago. The boy. a
stranger in Hollywood, was engaged in that most difficult
business of making acquaintances and breaking in.
"I want you to promise me something." she was urging
him worriedly. "I want you to promise that you will
not miss any meals. Oh. you needn't blush ! Young
people do miss meals sometimes when they are getting
started, if they let their silly pride stand in their way.
Now, if you need anything you call me and say, 'I'm
feeling a little low to-day. I'd like to come over for
tea. or for dinner.' I'll
understand."
And that is really the
;L;ist of the entire matter.
I f 1 [ollywood did not look
after its own it might lose
some very important tal-
ent. Every one has had
to struggle. Every one
has had to be helped by
.some one in some way or
other. Therefore it is un-
important to repay the
•n who has 1
you. It is your responsi-
bility to help the next
straggler.
I like to know tl
things. And I thought
that you would, too.
21
Teetering On
When the stars slip on ballet slippers and tarlatan
skirts — or none at all — they become sprites of
enchantment who beckon and lure.
Bernice Claire, left, a
newcomer to pictures in
"No, No, Nanette," not
only dances divinely, but
sings the leading soprano
role in the musical com-
edy.
Marilyn Miller, the in-
comparable, stands, right,
defying your eyes to
catch up with her as she
darts through the mazes
of her dances in "Sally."
i
« a
Joyce Murray, above, a
Metro-Goldwyn "find," is
said to hold Hollywood's
record for dancing on her
toes the longest time.
We didn't know that Loretta
Young, left, was a toe danc-
er: but, for that matter, we
never suspected that she had
the lovely speaking voice
she revealed in "The Squall"
and "Fast Life." So we
gladly applaud her dainty
teetering.
Portia Grafton, right, a dancer
trained from childhood, is now
a member of the Albertiria
Rasch ballet which won the out-
standing applause of "The Hol-
lywood Revue" and promises to
do as much in Moran and
Mack's "Why Bring That Up?"
Maxine Cantway, righl
far is best known to fame
as the typical chorus pirl of
the singing and dancing pic-
tures.
t
rhcpto by Fryer
Leatrice Joy's return to films was short
lived, and she is now in vaudeville again.
WELL," announced Fanny, with
an air of finality, "Gloria's
done it now."
My memory raced around trying to
alight on siime recent rumor about
Gloria that would be significant enough
to occasion such an outburst. But all
T could recall was a dispatch from
Europe that la belle Swanson had ac-
cumulated the largest and most elegant
collection of pajamas ever gathered to-
gether.
"Hollywood will just have to dis-
riiotu by Sasha
ij^/he *3y&iander
card any cherished notions that she is on a decline,"
Fanny continued vociferously.
My mind was still on pajamas. I wondered idly if
Gloria intends going about publicly wearing them. The
beach season will be over by the time she gets back to
Hollywood. Maybe she will wear them to the Mont-
martre. Probably not. Her extremes are all in the di-
rection of restraint and dark colors and simple lines.
But maybe she will change. Maybe just once, for my
sake, she will show up there in an outfit so startling that
it will put all previous records to shame.
Louise Fazenda and Clara Bow have retained the title
for startling Montmartre long enough. Louise went there
once in convincing Negro make-up. She had been work-
ing in "Ham and Fggs at the Front." Clara won her
round in the competition by dashing in for a moment in a
scarlet bathing suit. I don't like to have Gloria outdone in
anything. But my musings were interrupted by Fanny.
"A friend of mine in London wrote me all about the
opening of Gloria's new picture there. It must have been
marvelous. The letter goes on and on for pages, but I'll
tell you just a few of the high spots."
My cries of "No, no; I want to hear all," were ignored.
The woman at the next table, whom I identified as one
of the ex-burlesque queens who had been working for
Paramount in "Applause," eased her generous bulk closer
to our table and tilted an attentive ear in our direction.
Out of the depths of her hand bag Fanny produced a
bulky manuscript that she consulted.
"The theater was jammed," she announced, "and there
were about five thousand people crowding Regent Street
outside. Police reserves were called out and a line of
bobbies, with locked arms, held the crowd back, or tried
to, while Gloria arrived. Staid, old London forgot its
dignity and the crowds roared. It is the first time that
an American star has held a
film premiere in London,
and I suppose the crowd
wanted to show its appre-
ciation.
"The audience was de-
lighted with the picture. At
one point, just after Glo-
ria's first song, there was
such a demonstration that
the picture had to be in-
terrupted while she went
on the stage to take a bow."
"That's something new,"
I remarked casually, "for a
picture to be so good that
the audience wants it
stopped."
The burlesque queen
moved over between us and
said to Fanny, "Don't pay
any attention to her."
She and Fanny hung over.
Pola Negri returned from
Europe, but not to make pic-
tures.
tacups
Fanny the Fan relays the
good news from London
and chats about film favor-
ites who have recently
visited New York.
the letter together, and I gathered from
their delighted chuckles that Gloria's
triumph was complete.
"I worked with Gloria in a picture
once," the friendly burlesque queen
confided. "It was 'Xaza.' I was just
one of the crowd, hut one day, when
I was all fagged out, she let me sit in
her chair for a while. It was the only
comfortable one on the set.
"After that, the other extras were
so jealous that they used to make a
bee line for her chair every time she
left it for a minute. One day there
was a little trouble over who got there
first. It was right in the midst of a
big dramatic scene. There was hair
pulling, and shoving, and quite a lot of
people got drawn into the fight. The
director bawled everybody out, and
said that none of them would ever
work in a picture of his again. Gloria
just laughed.
"I've worked with
some great actresses in
my day." She fastened
an accusing eye on me.
quite as though she knew
that I was wondering if
it were in Billv Watson's
"Beef Trust."
"And she's one
of the best. I
hope her pic-
ture's a knock-
out. It will have
to be to be better
than 'Applause.'
That's the one
we just made.
Helen Morgan's
a good actress, Pholo by
too, but the fans L " uiM '
will never take her to
their hearts the way they
did Gloria. Her part's
not sympathetic enough."
Fanny looked a little
distrait. Here was some
one whose volubility
drowned her out. She
offered no remonstrance
when our uninvited guest
took her departure.
"New York's really
beginning to look like a
metropolis, isn't it?"
Hedda Hopper is back on
the Metro-Goldwyn lot
for "The Rogue's Song."
hy Fryer
Loretta Young is not in danger of getting a swelled head,
because she is still the most diffident girl in pictures.
Fanny asked, just as if she cared what I thought. "The
last few picture openings have had a sprinkling of celebri-
ties among the reviewers, and a lot of picture people have
dashed through New York on their way to Europe.
"At the opening of Helen Morgan's stage play. 'S
Adeline.' there were a lot of familiar faces. Phyllis Haver.
Lillian Gish, Jeanne Eagels, and Dorothy Daltotl were all
there. Phyllis looks radiant. In fact, she looks so lovely
it makes me sad whenever I think that she is really serious
about retiring from the screen.
"Lillian Gish is leaving for Hollywood in a few da;,
make 'The Swan.' That's an ideal vehicle for her. and it
is nothing short of inspiration to have Marie Dressier play
the domineering old queen. She will make Lillian
fragile. All tin- cast needs now is Hedda Hopper. She and
Marie would have so much fun working together, and what i-
a little more important to the audience, -he would be grand in
the picture. As 1 remember the play, the royal ladies wei
pretty dowdy, but I will forgive them if they change the Si
just enough to let Hedda play a royal snob who i< -mart
looking.
"Hedda has paused just long enough in her real-*
lion- to work in 'The Rogue's Soul;' for Metro-Goldwj
finds time to do everything but write letters. Don't kl
my fondness for her never fade-, all tl red."
While Fanny paused for breath. I demanded n<
othy Gish.
"Oh, she l- t" play in 'The Matriarch' on the
she will probably make a picture here for an :
One of the English -tudio- can't gel t'
installed for several months, so th(
28
Over the Teacups
After the rigors of "Sunnyside Up," Sharon Lynn dashed away
for a vacation.
pictures here while they wait for it. And, of course,
since Dorothy is one of the darlings of the English
public, they want her to star in their pictures.
Whether she does or not depends on the run of
'The Matriarch.'
"What I can't understand is how it happens that
her husband, James Rennie, hasn't been drafted into
talking pictures. He was pretty good in silent ones,
and his voice is one of his greatest assets. They
will get him, sooner or later. Lately he has been very busy.
He collaborated on a play called 'Jehovah Joe,' and played the
lead in it when it was tried out in Greenwich, Connecticut.
"And that reminds me, neither Irene Rich nor Doris Kenyon
put in an appearance at the Greenwich Theater, though they
were both announced to do plays there. Irene has finished
'They Had to See Paris,' and is working eastward in vaude-
ville. Doris has evidently decided to go in for singing in a
large way, as she is giving a concert in New York soon. Milton
Sills will stay in the East long enough to see her through that,
and then he is returning to Hollywood to make pictures again.
He has quite recovered from the breakdown he had last spring.
He and Doris have been at their cottage in the Adirondacks,
living the simple life between singing lessons.
"Screen players simply won't stay put any more. They no
more than finish the last scene in a picture when they're off globe-
trotting, or touring in vaudeville, or going into business.
"You'd think Betty Compson would be busy enough leaping
from studio to studio making pictures. But no. She has applied
for permission to build a hotel in Hollywood. Estelle Taylor had
her tonsils removed, and the effect on her voice is said to be noth-
ing short of miraculous. She has been visiting Willard Mack at
his Connecticut farm, rehearsing a vaudeville sketch.
"I thought Leatrice Joy was all set to stay
with First National for a long time, but I was
wrong. She is down in Ohio on a vaudeville
tour, and Lois Wilson is making one of the
pictures slated for Leatrice. Theda Bara's go-
ing into vaudeville, too. She is to do one of
those Grand Guignol plays that give strong
men the shudders."
"And I thought vaudeville was dead," I re-
marked idly. "Does any one ever go to vaude-
ville shows except scouts for picture com-
panies?"
Fanny looked upon that as an entirely use-
less question.
"After all," she observed, "all a neglected
film player wants in a vaudeville audience is a
few enthusiastic relatives and a talent scout.
Who wants to spend a third of her time on
branch-line trains, and the rest in small-town
theaters? Vying with trained seals and ven-
triloquists' dummies !"
"Did you see Evelyn Brent?" I asked, in an
effort to get her in a more cheerful frame of
mind.
"Just a fleeting glimpse," Fanny admitted
regretfully. "She didn't stop over in New
York at all, but arrived just in time to catch a
boat for Europe. George K. Arthur dashed
through town, too. He is going to work in
one of Adolphe Menjou's pictures in France.
Jack Pickford sailed on the Bremen the other
day. He says he is through with pictures, but
two big producers are willing to put up an
argument about it.
"Dolores and John Barrymore
are in town. You never run
into them at restaurants or first
nights, but if you hear of an ex-
hibition of ship models anywhere,
the chances are very good that
they will be among
those present. They
are hurrying back
West in a few days.
v John has to start on
a picture for the
Warners. Dolores
won't make any more
pictures until spring,
owing to a vital in-
terest in layettes and baby
shoes.
" 'Bee' Lillie is in town
after finishing a picture out
West. She ''s full of en-
thusiasm for Louise Fa-
zenda. In fact, they have
a great mutual admiration
society. Marilyn Miller
has come back, too, looking
too exquisite to be real. I
defy you to find a prettier
girl anywhere. Just let her
come into a room, and she
makes all the other women look
like wilted lettuce, or a last year's
hat.
"Irene Bordoni arrived the
Nancy Carroll's return home
brought the discovery that she
isn't the only celebrity in the
family.
Over tne Teacups
other day, and you can't imagine what she is
going to do."
"A play," I yawned.
"Oh, no." Fanny went on, in superior lash-
ion. "She has gone in for civic pride and
social consciousness, and all that. She is or-
ganizing a theatrical committee to work for
Jimmy Walker's renomination for mayor. All
during his campaign, free movies are to he
shown in Times Square urging his reelection.
Miss Bordoni will probably sing the campaign
song in a talkie. Now I ask you, what other
candidate can compete with that ?"
Unless some other candidate can get Lind-
bergh to take voters for a ride, I am afraid the
election is practically settled as soon as the
show begins.
"And have you heard that Nancy Carroll is
here visiting her home town?" Fanny babbled
on. "Only to find that she isn't the only celeb-
rity in the family any more. Her kid sister.
Terry, is working in a Pathe musical short,
and doing so well that a big success is predicted
for her. If the rest of the brothers and sisters
follow her example, the Eaton family with its
contribution of five to the screen will look like
pikers."
"Are there as many in Nancy Carroll's
family as that?"
"Oh, lots and lots of them, and then some
more," Fanny replied, with a large gesture.
"I've forgotten the exact figure, but it is up in
the epic super- feature class.
"If Terry wants to establish her-
self as an individual, and avert all
risk of being confused with Nancy,
all she will have to do is to appear
fully clad in all her photographs."
And only the other day Fanny was
complaining because
Nancy Carroll wears
smart clothes with the
air of Broadway,
rather than of Park
Avenue! There is no
pleasing some people,
unless you happen to
be born Gloria Swan-
son.
"Jack Holt and Ralph
Graves flew East for the
opening of 'Flight,' " Fanny
informed me with no great
interest. "Columbia wanted
Lila Lee to come, too, since
she is not only the lead, but
the only girl with a promi-
nent part in the picture.
But Lila was working, as
usual, and couldn't.
"Lila Lee and Josephine
Dunn are running neck and
neck for the record of mak-
ing the greatest number of pictures
this year. Tt must be pretty hard
on them working so steadily, but it
is great for audiences.
"The audience at the Capitol
By improving her make-up Lola
Lane is now one of the acknowledged
beauties of the screen.
>' Honunel
Evelyn Brent skimmed through New York at such
high speed that she just had time to reach the
steamer.
Theater simply adored Josephine Dunn, in 'Our
Modern Maidens.' Just a- every one thought silent
pictures were a relic of the past, along came that
one and drew such crowds that it was held over for
another week.
"The picture was entertaining, but it was weird
after a steady diet of audible films, to have Anita
Page strum a ukulele without a sound coming out.
"Dolores dil Rio's almost-silent 'Evangeline' has been
drawing crowds in Brooklyn, but maybe her personal
appearances with the film have something to do with it.
Brooklyn has been very polite to her, all things cor
ered. The day she was supposed to arrive, the United
\rti>ts office gathered up a large crowd of photographers,
reporters, official greeters, and people who just went along
for the ride, to meet her at the Pennsylvania Station. The
train came in. but without Miss del Rio. Without notifying
any one, she bad stopped off at Pittsburgh to see Teddy Jo
a master of ceremonies who is her currently reported fian<
"< >h, well, it got his name in the papers, even if it did
.\li-> del Bio in bad with the officials who were waiting t"
receive her.
"Some one promoted a content that must have been a s>
Strain on her disposition. All the girls who had been told by
their friends that they bore a startling resemblance to Dol
• !el Bio wire invited to meet her. Then she had I I the
one that she thought looked most like her, and award !
wrist watch. Well — when she looked at that
must have thought that practical joking v, ant. I dare
I inui 'I on pagi
30
Strange Roads
There are five major roads to screen success.
the most spectacular, incredible of any. Yet it is
tells you what it is, who have tried it,
By Al
l'hoto by Bruno
Josephine Dunn accompanied a friend to the Paramount
school and was urged to enroll, though her friend was
rejected.
ALMOST every girl would
like, to get into the mov-
ies. And almost every
boy. "I'm a screen-struck cu-
tie" could be the national theme
song.
"You're just <*s pretty as
Clara Bow any day!" Minnie's
boy friend will tell her and, in
her secret moments before the
mirror, Minnie thinks so her-
self.
But Clara Bow is in the mov-
ies and Minnie isn't. Minnie,
standing over the dinner dishes,
si^hs and yearns for her share
of Hollywood glory.
"I low can I get into the mov-
ies?" she asks herself. She
asks her friends and the fan
magazines. The answer is al-
ways the same : "Not a chance !
You have to have pull to do it."
That isn't all the answer, of
course. It takes considerably
more than pull.
How does one get into the
movies?
Every one knows, of course.
what might he called the five
major roads to screen success.
You can make good first on
the stage, so that film producers
will see you and knock on your
ma
dressing-room door with a contract. Ina Claire, Mary
Eaton, Ruth Chatterton — of course there are scores of
recently prominent screen players who are recruits
from Broadway. Not to mention the many established
film stars with preliminary stage experience.
You can win a beauty contest — or can you? Clara
Bow did, and Lois Wilson, and Mary I hilbin, and
several dozen others.
You can start as a model, either for magazine covers
or fashions, so that your face becomes your fortune
and film producers pursue you. Like Alice Joyce,
Norma Shearer, and Anna O. Nilsson.
You can, if you're of the masculine gender, become
a champion cowboy, with your riding or lassoing a
coveted screen asset. Like Tom Mix, Ken Maynard,
and Buck Jones. But Westerns aren't so popular
these days.
Or you can struggle up the tortuous hill from extra
roles, as Gloria Swanson, Richard Arlen, and Ricardo
Cortez all did.
But all these stories have been told. They are the
customary paths trod by the feet of the great on the
road to stardom.
This story deals with another road to screen fame
that isn't on the bonks at all. The most spectacular,
incredible way of any. Into
the movies by accident !
Just a little, lucky chance.
Many screen-struck boys
and girls have sat and
sighed for a chance at fame
and glory. But only the
lucky few have had that
fame and glory flung into
their laps.
Sue Carol, for instance.
Sue, in the days when she
was Evelyn Lederer, was
a belle of Chicago. Her
parents had money. Sue
was reared in luxury. She
went away to school, to
Kemper Hall in Wisconsin,
to the fashionable National
Park Seminary in Wash-
ington. If she thought of
the movies at all, it was in
just the same way that little
Minnie does, fretting over
the dinner dishes : a lovely,
nebulous dream, never to
be realized.
And then Sue — or Eve-
lyn — went to Hollywood on
a visit. She too, like any
other tourist, was thrilled.
Nick Stuart, as errand boy,
delivered a parcel to Tom
Mix.
31
to Stard
om
Every one knows them all. But there is another,
the simplest. This brightly authoritative article
and what manner of success is theirs.
Tailed
Photo by Autrcy
Fancy seeing stars in person! She did see them. She
saw, among others, Douglas MacLean, then his own
producer. He took one look at Sue. And then an-
other, for Sue is a girl one looks at twice.
"How would you like to take a screen test ?" he asked
her. And any girl knows the right answer to that one.
Sue took the test; she got a contract. The public first
saw her opposite Douglas, in "Soft Cushions," her
more-or-less soft cushion to screen success.
Virginia Cherrill's career is surprisingly identical
with Sue's. Virginia, too, grew up in Chicago. She.
too, had wealthy parents. She even attended the same
school Sue did — Kemper Hall in Kenosha, Wisconsin.
Perhaps there's magic in that formula, for when Vir-
ginia went to visit Hollywood, just as Sue did, she
met Charlie Chaplin. And Charlie gave her the lead
in his forthcoming picture, "City Lights."
Nick Stuart, Sue's fiance, also traveled the accidental
road to screen fame. Nick, coming over from Rou-
mania at the age of nine, went with his parents to live
in Dayton, Ohio. His next home was in Chicago,
where he supported his mother and younger brother
after school hours. And then they moved to Los An-
geles, hecause of that famous chamhcr-of-commercc
climate. There, among
other jobs, Nick found
work in a sporting-goods
store.
One day he had to de-
liver a pair of revolvers
to Tom Mix at the Fox
studio. This was a thrill !
The magic charm which
led inside the hallowed
gates. Fearing he would
never get inside the holy
ground again, Nick hung
about the lot. And finally
summoned courage to ask
for a job at anything.
That must have been his
lucky day. He got the
job.
Alice White is another
of fortune's favored. Alva
White they called her, in
Paterson, New Jersey.
Her mother was a chorus
girl and Alice lived with
her grandparents until she
was six, and then she went
to school. A convent, a
public school, and then a
girl's school in New Ha-
ven, where Alice spent
most of her time hanging
Richard Walling was a
camera man before he be-
came an excellent actor.
V
l'hulu Uj Bl
Sue Carol paid a purely
social visit to Hollywood,
but remained as an actress.
out the window watch-
ing Vale students as they
passed by.
By the time she was
grown, her grandparents
had moved to 1 lolly-
wood, "i lollywood ought
to be fun," thought Alia
— as what girl wouldn't ?
So she decided to
them there. She took a
secretarial course, and
one job followed .an-
other. She became a
telephone operator, then
went back to her type-
writer. Finally she got
a job as script girl at the
Chaplin studio. In an
idle moment, a cai
man offered to take some
test-; o\ her. Am!
pricked up its ears, but
the tests were terrible.
She took them annul
the studios in vain,
seemed the end of her
film career. And then
the lucky accident C
along. An a<rent sav
one day.
32
Strange Roads to Stardom
George O'Brien
was also a cam-
era man when
Tom Mix "dis-
covered" him.
Photo by Fryer
Alice White was a studio worker, with never a
thought of acting until some one suggested it.
"Let me be your manager," he said.
"Don't be silly," said Alice. "What would a
script girl do with a manager?"
| "Become a star," said the agent, "if you take
off ten pounds."
: So she took off ten pounds, the agent took her
to First National, and First National took her to
a fountain pen and a contract.
June Collyer is the daughter of Clayton Heer-
mance, a New York lawyer. With wealth, breed-
ing, beauty, charm, June — who was christened
Dorothea — had all the qualities for screen suc-
cess. But so have thousands of other girls all over
the country. June just happened to be fortunate.
At a dinner party one night she met a friend of Allan Dwan, the
director. "The very girl!" he told her. "Mr. Dwan is looking for
some one like you." He spoke of the scores of screen tests Mr.
Dwan had been making at Fox's New York studio, in a futile
search for some one to play the society girl in "East Side, West
Side." "Why don't you try for it?" he asked.
So June tried. Without, of course, much hope of success. But
it turned out to be June's lucky day ; she got not only that role,
but many other roles.
Josephine Dunn was a chorus girl, but the stage was not her
stepping-stone into the movies. She, too, found opportunity by
accident.
The Paramount school was being assembled, and one day a girl
friend asked Josephine to accompany her to Paramount 's studio at
Astoria, Long Island. The friend wanted to try for the school but
Josephine had never thought of it.
The school director looked at Jo's friend. "You won't do," he
told her. And then he looked at Josephine — as one would! "Why
don't you try for the school ?" he said.
"Me? I haven't got the money." Tuition was five hundred dol-
lars. Jo had never even seen that much money all at once. But
that, it seemed, could be arranged by installments out of her
future salary. And so Josephine became one of the class that
introduced Buddy Rogers, Thelma Todd, and Roland Drew,
then Walter Goss, to the movie public.
Many lucky accidents have befallen those who worked around
the studio. A job inside a studio, even if it's only sweeping
floors, is sometimes the humble first step on the golden ladder
to fame.
George O'Brien was a camera man for Tom Mix pictures.
Until, on George's lucky day, the star suddenly realized that the
face behind the camera should be in front instead. So, on
Tom's recommendation, George was given a screen test and
the lead in "The Iron Horse."
Richard Walling was also a camera man for Fox. And then
an astute director
woke up one day
to his screen possi-
bilities and he was
given a lead in
"The Midnight
Kiss," opposite Ja-
net Gaynor, in her
first leading role.
Lawrence Gray
worked in the busi-
ness department of
Paramount, until
Bebe Daniels, see-
ing him, suggested
that he was much
too handsome to be
leaning over a desk.
Patricia Avery
was a stenographer
at the Metro-Gold-
wyn studio when
her screen possibil-
ities were noted.
Continued on page 92
Virginia Cherrill's
life and accidental
entrance into pic-
tures are strangely
like Sue Carol's.
Hotter and Hotter
That's the pace set for themselves by Eddie Nugent and Sally
Starr, who sponsor with enthusiasm the new dance which they
call "Boom-Boom," and which they willingly illustrate on this
page.
■
2
r
m
/ *"CTP * A
With their backs
turned, right, tiny
fall into ;i bur-
lesquc walk which
includes a comic
stagger and inter-
locked feet.
The playful introduction of the partners,
above, is accomplished with a low bow
on Eddie's part and coyness on the part
of Sally, with the right foot of each
extended.
The graceful and cliarmiii
mint, left, is interpolated in the dance
whenever the mood of the dancers
dictates, and consists of the alternate
meeting of right and left I
The frolick-some mood illusti
below, occurs at the climax of the
dance when both performers, •
team footwork, point fingers at i
other in a laughing "boom-bo*
(&
After a whirl and
some jazz steps,
they turn, left, and
Sally gives Eddie
a playful "boom-
boom" w i t h her
imaginary g u n .
while he throws up
his hands to indi-
cate his helpless-
ness.
34
WhataGu?! WhataGu?!
An attempt to interview Glenn Tryon seriously turns out to be a lively task, with all the mugs of — er —
rootbeer, and his verba] skippings all over the place.
By Samuel Richard Mook
IMAGINE a narrow ribbon of road winding through
a peaceful countryside, with the shadows of clouds
playing over the hills, and a group of little houses
nestled at the foot of the hills.
So far so good, except that the road is cement, and
the houses are not the rustic cottages you may have
been led to expect, but Spanish architecture of the sort
indigenous to California.
Picture one English house amid all these tamales,
perched precariously on the side of the hill, where the
wind plays through the windows, for despite its compact
appearance it is quite spacious and the rooms are large ;
and a formal, little garden sliding off the side of the hill
into the lap of the road, with its beds of phlox and mi-
gnonette, of hollyhocks and Sweet Williams.
Suppose a personable young chap is lolling in a swing,
with a book in one hand and a pipe in the other, with
one eye cocked anxiously on the ribbon of road. Sup-
pose it was Glenn Tryon.
Suppose an ambitious., little Ford, piloted by Buddy
Wattles, is chugging up to the foot of the steep steps
leading to the swing, and a hot, perspiring individual
descends from the Ford and starts up the steps. Sup-
pose he stumbles and falls halfway down again. Sup-
pose that individual were I. You'd be right, all the
way through.
Glenn and I snickered as I picked myself up.
Perfect host that he is. he immediately soothed
my fevered brow with a pail of — shall we
say rootbeer? The colored maid filled 'em up
again, and started to move away. "Mary
makes this herself," Glenn complacently in-
formed me, as his tongue started, chasing the
sparkling foam around the edges of his mouth.
"Then I'd certainly raise
Mary's salary," I suggested.
He sat bolt upright and
smacked the arm of his chair.
"Will you keep that trap of
yours shut? She might hear
you."
"I sho' is heerd 'im," came
Mary's voice from the far end
of the room, "an' lemme tell
yoit somethin', Mistah Glenn,
that gemman sho' is speakin'
parables."
His wire-haired terrier,
Toby, tore into the room and
gave us his conception of one
of the horses in a circus gal-
loping aimlessly around in a
circle. On one of the rounds
he happened to glance out of
the window and saw a dog
of feminine persuasion
wandering disconsolately
Glenn is such excellent
company that one is (
tempted to let him talk
regardless of an interview.
among the hollyhocks. A series of staccato yelps inter-
rupted the conversation.
"I'm afraid," Glenn sighed, as he let Toby out into
the fresh, clean air, "his amorous instincts are going to
get him into trouble some day — a breach of promise suit,
perhaps." He turned his fine, grave eyes on me —
Glenn, I mean, not Toby — and solemnly said, "I think
his private address book might prove an inspiration to
some of our Boulevard sheiks." I looked out of the
window and, judging from the manner in which they
were rubbing noses, unless Toby had met the young-
lady before, which I am disinclined to believe, Glenn's
premise is certainly correct.
"I suppose," he continued, "you want to know if I've
starved in Hollywood, and the answer is 'No.' I don't
know why people always seem to devour the morbid
tales with such avidity. If you ask me have I starved
in New York, I can say 'Yes.' "
"Hey!" I interrupted, "you're skipping all over the
place. Start at the beginning."
"You mean T was born early in life,' and all that
sort of thing?"
"Well, no. You can start where you finished high
school."
"I finished high school," he began obediently. "I was
always associated with the theater, even during
my school days — anything I could get to do
around one: usher, messenger, call boy, stage
hand, super, or what have you? My father
sold farm implements."
"Hay, hay!"
"Say, that's pretty awful. You ought to be
ashamed of yourself. And anyhow, cut it out.
You're only the writer — I'm the comic relief."
"Relief is right," I said,
again sticking the old beak
into the — er — shall we say
rootbeer ?
"I finally went to New York
to give the waiting world a
chance to appreciate my his-
trionics. That's when the
starving commenced. I was
fired from more jobs than I
can count. What? Oh, I was
just bum, I guess. But, in
defense of women, I some-
times got engagements that
augured well. One, I remem-
ber, was in a show called 'The
Other Woman.' We rehearsed
her, or both of them — this one
and the other one — for nine
long weeks, and then opened
in Union Hill, New Jer-
sey, preparatory to a New
H York run. We played one
performance and closed.
Nine weeks shot to— to —
well, wasted. I had car
fare back to New York —
Continued on page 112
35
■■■■HIM^H
Photo by Irving ChldnofT
GLENN TRYON'S humor, so buoyant Mid unflagging on the
screen, masks a cold, hard common scn-e that in real life
is rather disconcerting, says Samuel Richard Mook in the
opposite, which presents an ingratiating pictirc <! 'the come
36
THOUGH controversies may rage about whether or not Gary
Cooper is this or that, or whether he can or cannot, or he
should or shouldn't,, he keeps his eyes calmly fixed on the only
course possible, that of being true to himself.
Zdgeae Robert Ricbee
Photo by Irving Chidnofl
OF air the stage players who have flocked to the screen, Ruth
Chatterton has won the favor of the fans in .* variety of
roles that would have taxed any star of the silent regime.
next film? "Sarah and Son."
38
FEW, if any, players of the silent screen -have been so vivified
by audibility as Norma Shearer, whose two triumphs, "The
Trial of Mary Dugan" and "The Last of Mrs. Cheyney," are to
be followed by another, "Their Own Desire."
Pboto by Irrlng Chldnoff
39
<*M
riiuto by Irvine ChldnutT
EVEN if Ann Harding were unknown, mis pnotograph would
justify itself on the score of sheer beauty. But she is distin-
guished on the stage, and by the time this is published we wager
that her domain will include the screen as well.
40
SLEEKLY feline, Lilyan Tashman makes her way sinuously
through almost every picture one sees nowadays and leaves
in her trail a pur of appreciation from those who applaud tech-
nical skill, pungent personality, and pervasive good humor.
Photo Oy Irvine Chidnon
41
Photo by IrvInK Chldnoff
AS long as the screen endures, Corinne Griffith will lend hcauty
to it, for when she no longer chooses to do so by the spell
of her gracious presence she will become a lovely tradition
let's await "Lilies of the Field."
f~* ENTLY, as befits so luscious-looking a girl, Leila Hyam:-
V-* humorously resents being called "just another marceled
blonde" by a fan, and Ann Sylvester's delightful interview oppo-
site bring.-, out just what Leila is going to do about it.
43
Tour Darts Strike Home
Whether a fan's letter praises or condemns a star, Leila Hyams, speaking for the players, assures the
contributors to "What the Fans Think" that every criticism hits its mark.
By Ann Silvester
AS you take youi pen in hand to bombard your
opinions through "What the Fans Think." docs
the suspicion ever hit you that perhaps your letter
will never be read by a star? Do you have that empty.
all-gone feeling that perhaps Richard Barthelmess will
never know how sore you felt over his voice doubling
in "Weary River"? Or that Alice White is ignorant
of the war that is being waged as to whether or not six-
is dumb?
Well, you can rest and write in peace, or any other
favorite mood. Dick knows all about it. So does Alice.
So does Leila Hyams, who was recently accused by a
pair of initials of being "just another marceled blonde."
We were lunching together at the M.-G.-M. restau-
rant the day she happened to speak of it.
Joan Crawford and her ardent, new hus-
band sat at an adjoining table. Scattered
hither and thither were William Haines,
Lon Chaney, Bessie Love, John Mack
Brown, Eddie Nugent, Conrad Nagel, and
half a dozen gilt-edged directors. It
needed only a small bomb to send a million
dollars' worth of talent sky-high. But
that's silly, isn't it?
Certainly the thought of bombing had
not disturbed the luscious serenity of Mrs.
Hyams' child. And "luscious" is
the word. There is a' peach-
bloom finish over a set of very
regular features as photographic
as they are harmonious. There
is a wide space between the eyes
that suggests mental calmness.
There is a casualness and just-
between-you-and-me tone in her
conversation that discourages any
attempt at formal discussion. So
we just sat and commented on
the people around us. And some
who weren't there. For the ben-
efit of those sticklers for detail,
she was wearing a blue sport?
dress and eating watermelon.
She had, she said, just com-
pleted a hectic and exciting sea
picture for Columbia, and it
seemed nice to be back on the
home lot after a long location-
trip on a boat. The picture
might, or might not, be good. Tt
wouldn't do her a great deal of
good with the critics, but the
fans probably would like it. "And that's
more important," she added.
"Do you really think so?" T asked.
"Sure," replied Leila. "Why not''
The critics get in on passes, but the
fans pay money.
"I'm always glad to get a good re-
view, because that flatters my vanity.
"Just another marceled blonde"
was the comment that hurt
Leila Hyams. Here Miss
Hyams is with her husband,
Phil Berg.
But I'd much rather be mentioned in the column of fan
letters, where they say just what they think. Sometimes
it hurt.-, but at least those letters are bonest.
"About a month ago I gleefully spotted my name in
one and read on -only to gel an awful slap in th<
Following my honorable mention was this line of de-
scription, 'just another marceled blonde.'
"At first I was as indignant as a wet hen. 1 thought
seriously of addressing a personal reply to the initials,
and telling the fan writer I was not marceled. I may
be just a blonde, but my hair isn't marceled. Evidently
it hadn't occurred to the writer that my hair might be
naturally curly. I can't keep it from curling. To run a
wet comb through it only makes it the wavier. On this
sea picture, with that criticism in
mind, I tried every way under the
sun to stick or paste my hair down.
Can you imagine what that young
man will think when he sees me just
as curly and 'marceled' as ever, in
the midst of the ocean? T can almost
see his next letter saying that I must
have taken my marcel iron along."
"Do you think the players really
take those fan criticisms to heart?"
I pried on.
"' )f course they do," Leila
assured me. "particularly when
the writers choose to call at-
tention to some weak point
that cannot possibly be helped.
I know one very charming star
who was awfully upset when
a fan wrote about her bowed
Now that is something
she cannot possibly remedy,
but it has no effect at all on
her splendid acting and, inci-
dentally, she is one of the
best actresses on the screen.
"Another player spoke to
me about a comment that re-
ferred to his old age, ami ad-
vised the producers to rele-
gate him to character parts.
instead of leading roles. 'If
these kids could only under-
stand that the dramatic things
of life are not entirely con-
fined to young people, perhaps
they would understand why I
might possibly fit my roles/he
explained his feelings to me.
"-till another player became
angry at a dart directed at her ht'u r
feet, that she asked the studio to em-
ploy a double for the offending mem-
bers. Von can see how this lim
comment can hurt terribly, without
1 14
•14
Anna Q. Nilsson is described by Miss Gebhart as a
game soldier, with the Swedish equivalent of an
American sergeant's outlook.
NOW if this were a sob story, I would marshal
my sad adjectives, hitch them together with
commas of commiseration, and string them
into sentimental sentences.
As it happens to be about Anna O. Nilsson, who
is just a game soldier with the Swedish equivalent
of an American sergeant's outlook, the sympathetic
vocabulary must remain in mothballs.
Fifteen months ago, much to her surprise, she
found a horse with a spirit as untamed as her own.
To this pride's injury, it added the insult of throw-
ing her into a deep ravine. With fractured hip, she
rode in the back seat of an automobile three hun-
dred miles from the high Sierras to a Los Angeles
hospital. The doctors said that never had they en-
countered such courage. It was later discovered
that for months the medicos thought she would be
permanently crippled, but not even her closest friends
knew of this fear until it was past.
Anna Q. always has stood for something very
fine. Her positive character, her contempt for Hol-
lywood's laws, her bravery, her candor, her trouping
in the many vicissitudes of a picture career for
seventeen years, won an enduring regard.
I dreaded seeing her ill, gloomy. That rippling
vitality muted? That husky voice, almost a
song in a low, contralto key, querulous and
whiny?
It so happens that I have come much in .— «_.
contact with little people's weaknesses. One's
She Wears trie
Anna Q. Nilsson has acquired patience
embittered and perhaps destroyed a less
beacons of Hollywood, and is also
B? Myrtle
All Photos by
storehouse holds custom-made remedies and
solaces. But the crumpling of the strong-
willed is an immense tragedy to me, as
though a rocky wall suddenly wilted into
gravel.
I might have spared myself the worry, and
parked outside that solicitude which, sub-
consciously, one carries on visits to invalids.
Discrediting the reports of her jollity, I was
unprepared for the tanned Amazon who
thumped in on canes, calling a hearty wel-
come. Her vibrance is undimmed. I gasped
and forthwith made myself comfortable, say-
ing my sympathy for the weaklings. This
wall hadn't toppled.
Her hair, in a shoulder-length bob, was
marcelled about a healthily browned face, its
strong contours perhaps a trifle em-
phasized by thinness, though the gayly
printed pajamas seemed amply filled.
After a misfortune which would have
crushed a less valiant
spirit, her strength pos-
sibly is even more no-
ticeable, because of the
. demands thus made
upon it. 3he looks so
capable, and is so ener-
getic. My first thought
of placing pillows for
her comfort struck me
as ludicrous. Instead,
I remarked, "I'm very
much starved."
"If you write any bunk
about me," she said, lazily,
from the kitchen, "you can
make your own coffee here-
after. If you do one of
those sob stories, I'll never
speak to you again."
For fifteen months she
has been "on the shelf," ex-
cepting the few weeks
when, getting up too soon,
she worked in "Blockade,"
bringing on a relapse. Im-
mediately after the acci-
dent, her hip was strapped
in a sort of brace, and her
limb atrophied until it was
the size of a small person's
wrist. Now, with two
canes, she walks a good
Far from being neg-
lected by Hollywood,
Anna Q. Nilsson is the
lure of many an excur-
sion to her beach home.
Badge of Courage
and fortitude from a hardship that would have
valiant spirit. Her story is one of the shining
one of the best Miss Gebhart has ever written.
Gebhart
Russell Ball
deal to coax the muscles into new development. Days
are spent "sun-soaking." When her maid becomes
bored with the compara-
tively solitary beach life and
departs, she does her house-
work, thus keeping actively
occupied. So intrepid is her
spirit, she even manages to
drive her car !
Just picture her, hobbling
about, sweeping and cooking,
taking her daily constitu-
tional along the sandy edge
of the ocean, driving up to
Hollywood for an occasional
luncheon, with the stubby
end of a cane helping a lag-
gard foot manipulate the
clutch — and gurgle a sob
story, if you can. / can't!
Three years ago she pio-
neered the Malibu Beach con-
tingent. Then her bungalow
stood gauntly alone, the
large living-room cluttered £
with wicker lounges, tables
strewn with magazines, on
the walls caricatures mingled
with seascapes. Now cot-
tages of brick and stucco
seem to sniff a bit at that old
native, the Nilsson haven.
A dozen stars, in chic beach
outfits cycle along the sands,
loll over lazy week-ends, or
challenge the wind in their
stanch little water craft.
We watched the motor
boats, scarlet streaks scud-
ding over the waves, and
likened the sea to a chorus
of swelling peacocks forming
a fan dance close to shore;
between the swells, a sloop,
which we decided must he
Charlie Farrell's, hove into
view, and a fishing smack
seemed to have sat down, out ^ ,,. . T .,
there, to talk things over ° { cou "e M.ss N.lssons
with the barracuda. SeVenteen yearS
Usually, a shelved one
goes through stages of bitterness and adjustment, rights
one's lopsided house and gains in solid values. Anna Q.
waved out into the ocean my suggestion that she, too,
might have suffered from introspection.
"Bunk! Only pain bothered me. and inactivity. I
had worked hard, my philosophy was definitely shaped;
things did not count, upon which many in Hollywood
place stress. My work was a good 'and interesting
45
business, that was all. Sorry, hm I can't wring a t<
with a talc of woe. At first I was very irritable and
impatient, and had I >1 myself with i iblc
effort. Self-pity, fortui have n< t< d.
Every experiem m ; the one thai I h
learned I i
"Ever) ■ be< n lovely. ' m week d.
picture people. Ii nevi to me to qui stion
their absence as. sometimes, I read of a player who
ill complaining of neglect. Aren't they all busy, rusl
iii a breathless cycle? So much to do in so little time.
My few days between pictures were occupied with
rounds t >\ duties, so I understood. On Sundays the
house is full. We seat the overflow on the wav<
What draws Lois Wilson. Leatrice Joy. the Allan
Dwans, the Gregory la
Cavas, and other bright
and busy cinemese down to
Anna O.'s seaside lodge on
their one free day?
sense of duty, pity, a con-
valescent's whine? Don't
be silly. They flock there
to he cheered up! In ex-
change for the compara-
tively petty news of people's
activities and dramas, they
take away that revitalizing
power and peace which the
ocean gives to those who
abide beside it. After a
swim they play cards, or
talk, or sunbake ; and the
gayest of all is the "in-
valid."
Spurred on by her men-
tal acrobatics, they trail her
comments and her throaty-
laughter; for the mark of
the leader is still hers.
After a while they sink
into one of those calming
silences. 1 like to think —
and who can prove me
wrong? — that spirits a hit
tired of the light, and bored
with its moths, gather cour-
age from the sentient
strength of her, grown ap-
preciably in the semidark-
ness.
"Bitter? Why? Things
happen. Disappointed ?
Naturally. I lost four
choice roles. Two. 'Craig's
Wife" and 'Ned McCobb's
Daughter,' I had my heart
set on. I was one of the
thousand up for 'Lummox.'
I want SO to do .huia
Christie. But what a tire-
some world it would be if
things went on smoothly.
Nothing can be more mo-
notonous than surfeit. Heartaches must be tucked away.
Fortunately, we Swedes are phlegmatic Besides, there
are many hurts in Hollywood, masked by glamour and
pride, worse than my accident.
"In 1 follywopd" — her gaze passed over me. beyond the
spray, out to the even carpet of greenish blue — "too much
is made of things. Drama and friction, tense ambitions,
Continued on page 110
accident will not end her
on the screen.
46
Billie Alfresco
It is an entirely different and more beautiful Dove who
disports on the beach, far from the madding crowd at
the studio.
Billie Dove, outer
left, as a modern
Lorelei, can woo
mariners to de-
struction with
her little, old
ukulele.
And with her
telescope, right,
she can sight
them long before
they realize their
fate.
Casting aside the
arts of seduction,
left, Miss Dove
goes in for a
strenuous game
of volley ball.
In the lower left-
hand corner she
abandons herself
to the sheer joy
of living.
But in a quiet
moment, lower
right, she finds
peace and relaxa-
tion with her
paints.
•"
47
Dogging Lila's
Footsteps
Three times the writer of this story
has fallen in love with Lila Lee,
beginning when she was three years
old and — but let him tell you how
she does it.
By Romney Scott
ABOUT twenty years ago — my, how
time flies — a bad, little boy pulled
loose from his nurse's hand and
toddled over to the stage .door of the old
Orpheum Theater in Memphis, Tennes-
see, for a good squint at a young lady
who was approaching, and who was ap-
pearing on the bill that week. As Harry
Richman sings,
"The girl was she
And the boy was me!"
This young lady, in those days called
"Cuddles," was not the fair-haired in-
genue usually found in girls of that age.
She was a distinct vamp, with jet-black
hair and lashes that curled and curled in-
definitely. I gave her a reassuring smile,
but the lashes were discreetly lowered.
This being a cycle of threes, I may
state here that she was three and I was
about seven — more than twice her age.
As she disappeared through the door,
she turned and flashed me a dazzling
smile, and in that instant Cuddles became
"an old man's darling."
Even at that tender age I knew how to pick 'em, but
that's all the good it has ever done me. I never get to
first base with any of 'em, and this affair between
Cuddles and me died a-borning.
We next met about six years later — twice three, you
see — at the home of a mutual friend. When I saw her,
I heaved a sigh of relief, and considered myself well
out of a bad mess. She still had those large, gray eyes
and the black hair, but she was fat and chunky — if
you know what I mean — and the hair had grown too
long to curl, and was worn in thick, ugly braids.
Cuddles and a younger brother of — er — my girl —
were having quite an affaire dit caw. Hot dog ! What
a writer I'm becoming ! As both his sister and I were
older than he, I was treated with something approxi-
mating awe. Cuddles left town and her swain was
broken-hearted. However, there were consoling letters.
When I was waiting for his sister, he used to come into
the living room and show me her letters — base scoundrel
— and ask advice as to the best way to conduct this
amour.
Presently I left town, too — no, you little smart Aleck,
I didn't have to — and I heard no more of Cuddles for
another three years.
Then, in a theater in Houston, Texas, I saw a picture
called "The Cruise of the Make-believe," starring Lila
Lee, and who do you suppose it was? That's it!
Cuddles ! She didn't seem quite so — er — chunky, and I
promptly proceeded to fall in love with her a second time.
I atience, children, the cycle will work out eventually.
Photo by Archer ,
Three times Lila Lee has been in and out of pictures, but now she can t
leave them any more.
Who wouldn't have? Didn't I know a real, live actress
when I saw one?
This was her first appearance on the screen. She
made eight starring pictures, and then disappeared from
public gaze for a time. As Lila puts it. she grew fat
where she shouldn't have, and long where nobody wanted
her long, and this, that, and the other.
Then she appeared for the second time on the screen
as leading lady. Her worst enemy in those days could
hardly have accused Lila of setting the styles — even in
her pictures.
She had the reputation of being one of the frowsiest
girls in Hollywood. She used to go flying around the
old Lasky lot with tennis shoes on all the time, her face
always in need of powder and her hair streaming around
her face. She wore coat suits when she should have
worn sports clothes, and sports clothes when she should
have worn something else. She was about fifteen or six-
teen at the time. I think it was those eves that got her by.
How many of you little brats remember her when
she played with Wallace Reid, in "The Charm School,"
"The Ghost Breaker," "The Dictator." and "Kent Free"!
Or with Thomas Meighan, in "Back Home and
Broke, Hie Prince Chap," "Old Home Week." "The
Easy Road," "Womanproof," and in "Male and Fe-
male," in which Gloria Swanson played opposite
Meighan, supported by Hebe Daniels?
Or in "L Matrimony a Failure?" whose cast !"■
such names as Lois Wilson and Adolphe Menjou? Or
in "Blood and Sand." opposite Rudolph Valentino, and
It was a very different Lila who played the slavey
in "Male and Female" years ago.
in "The Ebb Tide," in which she played opposite
James Kirkwood for the first time, and in "One
Glorious Day," one of the only two good pictures
Will Rogers ever made?
How many of you knew she made
a series of feature-length comedies op-
posite Roscoe Arbuckle when he was
in his heyday? Quite an imposing list,
isn't it?
Came a day, as they used to say in
the good, old silent pictures, when Lila
burst upon our startled gaze, clad in
white satin and a long veil,
and said "I do" to the minis-
ter and "I will" to James
Kirkwood, and forthwith dis-
appeared from Hollywood.
New York knew them then
for a few years. Husband
Tim appeared successfully in
two plays, "The Fool" and
"Ladies of the Eve-
ning." Then they ap-
peared together in a
Photo by I'ryn
Poised, sophisticated,
and beautifully efficient
is the Lila of to-day.
L'ogging Lila s rootsteps
couple of plays, "Ladybird" and "Edgar Allan Poe" — "Which
we produced ourselves, God help us," said Lila.
In those days Lila was one of the most pathetic little objects
I've ever come across. Those enormous eyes which made you
want to take her right into your arms — an inclination I still
cherish, fruitlessly, perhaps — and comfort her. She was in
reality the character that Zasu Pitts and Bessie Love used to
portray on the screen. I don't know what happened then —
I've never asked her. But things just didn't work out, and
Lila and Mr. Kirkwood reached that poetic-sounding spot on
the road of life where the trail divides. They separated and
Lila went to Europe.
Another three years passed and she returned to Hollywood.
But times had changed, and Hollywood didn't exactly sit up
on its hind legs when she arrived, and nothing much was heard
of her for a time. Then she began working again. "Queen
of the Night Clubs," with Texas Guinan, "Honky Tonk," with
Sophie Tucker, and then "Drag," with Richard Barthelmess.
I didn't see the first two, but I did see "Drag." The next
day I went to an oculist, got some new glasses, and went back
for another eyeful. And, cheerio! ll'hat an eyeful!
You see, the old cycle was hitting on all three again. Her
third entrance into pictures. Her third picture since her return
and, last but not least, it was the third time a humble writer
began to sit up nights dreaming about her.
As you have been told, in the old days Lila was not exactly
a fashion plate. But shades of Lanvin and Lelong, see her in
"Drag" and eat dust, buddy, eat dust. The latest bob! And
the ne phis ultra in clothes ! Didn't I tell you when she was.
three she was a pronounced vamp? Now, after twenty years,
she reaches full bloom.
Next day I hot-footed it around to the Fox lot, where she
was appearing with George Jessel. in "The Hurdy Giirdy Man."
We lunched together, Lila, George, and William K. Howard,
the director, and I.
"I can tell you all about Miss Lee," George volunteered.
"Let's see. The last play I appeared in before I came out here
was 'The War Song,' and before that I played in 'The Jazz
Singer.' Now, some of the critics preferred my work in one
and some in the other and "
"Enough!" said Lila. "Thanks just
the same, chiseler, but I'll manage my
own interview," and she turned those
thousand-candle-power eyes full blast
on me.
When I came out of the swoon, Lila
was holding my head on her lap and
George was pressing a bottle of smelling
salts, or maybe it was something else, un-
der my nose. I inhaled deeply of what-
ever it was and went into another faint.
Unfortunately, all good things come to
an end, and by and by Mr. Howard — or
maybe I should say Bill, since we've
lunched together, called time, and we all
trooped over to the set to start work
again.
To my surprise, Lila
has not only changed out-
wardly, but inwardly as
well. Instead
of the resigned,
Continued on
page 114
19
Stairsteps
The average parent can forgive him-
self for growing chesty over having
one child in pictures, but what of
those who have rows of kid actors
in the family?
The Quillan clan, above, is known especially in v.
ville, from papa down the line, but Eddie shines in pic-
tures. Top row, left to right, Helen, J< e, Mai
John, Buster, Mr. and Mrs, Quillan; Margaret, Isabelle,
and Rosebud, in front.
The Eaton family, above, has responded royally
to the call to films, and is perhaps the best-known
family group of the young players. Left to right,
back, are Charles and Mary; Doris, Mrs. Mary
Eaton, and Pearl, dance director for RKO.
The Johnson family, right, is not neglected by
any means, for here are Kenneth, Camille, Car-
mencita, Seesel Ann, Dick Winslow, and Cullen I!.
The ten Watsons, left, are a little
casting li-t in their nd all
the >■ pt the smallest
have been in 61 right,
Jr., Vivian, Gloria, 1
Han; I kl Mar, and (">car\.
50
Photo by Louise
Beaming pride is reflected in the faces of John Mack Brown and his wife over their baby's first
adventure with the camera, while George Fawcett, a sort of godfather to all three, bestows his droll
blessing.
k4
/-\
1H
II
t m m
-i
^
* m I ■ ■■ * ft ■
KA^/ \_y V V-L
T T
U
What's doing in the studio world, with news and
gossip such as you like to know.
A YOUNG lady finally makes up her mind !
Thus might a caption be written to the an-
nouncement that Janet Gaynor is married to
Lydell Peck. An on-and-off engagement, with the hero-
ine debating whether she would say "I do" to the very
last minute, ultimately culminated in their marriage.
The suspense must have been terrible for Peck. He
won, though, and it is said there was at least one broken
heart because of the match— namely, Charlie Farrell's.
Charlie went on a personal-appearance tour through-
out the country just following the wedding, and it is
predicted that he and Janet will appear in no more pic-
tures together. However, this is perhaps only vague
rumor, because it doesn't seem fair that such a happy
and successful combination on the screen should be
broken up, even on account of marriage. And why
should it be, anyway?
Nobody in the films had a chance to witness the cere-
mony that united Janet to Mr. Peck, since it took place
at the groom's home in Oakland. California. Only im-
mediate relatives attended, including the star's mother,
Airs. Laura Gaynor, and her aunt, Mrs. A. B. Avery.
The couple have been honeymooning in Honolulu. It
is said that Mr. Peck will likely give up his law practice
in San Francisco, and start anew in Los Angeles to be
near his clever, little wife.
Only time can tell whether marriage is the most ad-
vantageous thing for the career of so sensitive and wist-
m
■ • i
TS l/y
Za
OcAalfc
'eft
ful a type as Miss Gaynor is on the screen, and her own
doubts about the advisability of the step in connection
with her work are reputed to have been responsible for
her last-moment uncertainty. She is, however, very
devoted to Peck, and he occupies a high position socially
and is very capable in his work. They met nearly a year
ago, and therefore had plenty of time to decide how
fond they were of each other.
"School Days, School Days."
How to get an education ! The latest problem of Hol-
lywood ! Not that stars necessarily need it — but then a
few of them seem intent on postgraduate study, or
something.
Corinne Griffith amazes us with the nature of her
curriculum. She devotes just one day a week to her
lessons, but makes up for lost time on that day by
taking an hour or more each of French, piano, sing-
ing, and tap dancing. She rests at her beach home
the other days of the week when she is not busy on
a picture, but that single one is all astir with fiery con-
centration.
Corinne's tap dancing was turned to good account in
"Lilies of the Field." Attired in silver tights — a revolu-
tionary garb for her — she did some spirited stepping on
the piano. "Gone are her languors" may well be said
of Corinne after this studious activity. But even Corinne
must keep up with the new pace.
Hollywood High Ligkts
Next — Cap and Gown.
The school idea is really very widespread in movie-
land. Pathe and First National have special coaches for
dramatic work, and from time to time Metro-Goldwyn
institutes some training for its players with the Uni-
versity of Southern California.
In the Pathe class, of which Frank Reicher, the di-
rector, is instructor, are Jeanette Loll, Eddie Quillan,
Carol Lombard, Russell Gleason, Lew Ayres, Marilyn
Morgan, and others. In First National's class the pupils
call Alexander Gray, who sings in "Sally" and "No, No,
Nanette," their teacher. Alice White, in a mischievous
mood, brought him a bouquet of flowers one day.
Private tutors are especially in evidence, and have
been for a long time, with such prominent stars as Mary
Pickford, Norma Talmadge, Clara Bow, and others, and
the rage for vocal study goes as mad a pace as ever.
Vallee Croons Along.
Rudy Vallee has yet to decide who will be the "girl
of his vagabond dreams," to quote one of his song num-
bers. At this writing he has not yet shown himself to
be a soul susceptible to the blandishments of I lolly wood's
fair, or possibly he hasn't started to blandish himself.
Vallee's public appearances are nevertheless events.
There have only been a few since he signed with Rk< ).
but the one he made at the opening of their new theater,
as well as the Roosevelt Hotel, captured the crowd, lie
was applauded repeatedly and encored. And he can sing
in his crooning way! No doubt of it!
But- — is he temperamental ? Well, we hear rumors
that he was very angry when they kept him waiting on
a set for a test.
La Negri, Sotto Voce.
A quiet visit by Pola Negri! It is hard to
imagine. La Negri always had the fashion of
sweeping onto the Hollywood stage with stunning
emphasis in the years when she was a
star with Paramount. Her entrance on
her recent tour was most subdued. It
was a business trip, as she has invest-
ments in Los Angeles that needed looking
after, and she resided at her own apart-
ment hotel while there.
Pola is to talk in her foreign-made
films, she told us — has, in fact, already.
for a part of one, but she has no intention
of returning to America and engaging in
the battle royal of the audibles here. One
can admire her discretion in this.
As always, she looked immensely fas-
cinating.
Her marriage to the prince, who is al-
ready reported to be interested elsewhere,
will be dissolved in November.
The Globe-trotting Fever.
Europitis, familiar ailment of past —
mostly pretalkie days — has broken out
again. And a throng has caught the fever this
time. The vacationers include Evelyn Brent and
Harry Edwards, on a deferred honeymoon trip:
Carol Dempster, also recently married : Gloria
Swanson, Douglas Fairbanks and Mary Pickford.
on one of their perennial voyages, and Jack Gil-
bert and Ina Claire, who are about on the way
home, and Neil and Elsa Hamilton. To the
group abroad will soon be added Richard Barthel-
mess and his wife, Jessica; Colleen Moore and
John McCormick, who may go around the world,
Corinne Griffith and Walter Morosco. and pos-
5]
bis wife and little daughter.
Ii> Hum
-ibly Harold Lloyd and
Also < ieorge Bancroft.
It may In- a surprise to learn that such a largi
arc holidaying, but the explanation is easy for
tlu- must part w< fearful of going anywhere when
the talkies first came in. They dreaded to fall behind
in tin' race to make good.
Now a number of them have won SUCO I the
others who-e prospects are -till a little doubtful have
determined to quit worrying about it. Hence the heavy
exodus.
"We need a perspective on this whole thing," is the
slogan now heard everywhere, and if a belated joining
of the Byrd expedition at the south pole seemed no
sary to acquire that perspective, it would be done.
The Babel of Tongues.
The Tower of Babel is about to be duplicated. In
other words, the movies are to become overnight a place
of many different tongues. For some smart studio boy
has recently discovered a way to double conversation in
pictures in foreign languages.
"Broadway," the Universal film, has been provided
with German and Spanish dialogue, and "Show Boat"
with German. These will be shown in Europe.
Also, spoken portions of "The Bridge of San Luis
Rey" were recently duplicated in German, but these
comprised only a sermon and a few other insignificant
speeches.
The hero of the hour in this new field is Joseph Schild-
kraut, who doubled for himself in "Show Boat." He
speaks German most fluently, and also French. He
knows Spanish, too.
Such linguistic attainments will enhance a star's
success in the future, though the voices of the
players can In- doubled easily enough by foreign
actors, of which there is still an abundance in
the colony, who can at least qualify as speakers,
if not as lookers.
A Talented Family.
Two Bennett sisters, instead of
one, are destined to make good I
Joan is already pleasing with her
refined type of beauty, as is dis-
closed in "Bulldog Drummond"
and "Three Live Ghosts," but
even more, Constance, who was
on the screen a few years ago
without causing more than a rip-
ile of interest, is manifesting
new acting gifts.
She has made two films un-
der her contract with Pathe. and
is now just finishing opposite
Richard Barthelmess, in "A Son
of the Gods."
Constance personally is the
peak of sophistication- not beau-
tiful, perhaps, but very inter-
esting as a type, and distinguished by her
worldly assurance. These attributes were not
always fruitful of acclaim for tin- silent-film
actress, but they seem to glorify the talkies.
In Celestial Mood.
A Son of the < rods" is
Barthelmess in Chinese
surroundings as a re-
minder "Broken
Blossoms." rthel-
meSS does not api>car as
i l^ 1 1 1 on "'
present
Dennis King brings his
stage success, "The Vaga-
bond King," to the musi-
cal screen.
52
Hollywood Higk Lights
a Chinese, though. He is a white youth adopted by a
Celestial couple, and reared according to their customs
and traditions. The old element of mistaken identity
enters the plot, because everybody is supposed to think
he is Chinese.
Vance Versus Vance.
William Powell and Basil Kathbone are rivals. They
arc both impersonators of Philo Vance, the effete de-
tective of the S. S. Van Dine mystery novels.
A curious situation has occurred over these unusual
thrillers, due to the fact that two different companies
are making them.
Paramount procured "The Canary Murder Case" and
"The Greene Murder Case." and Metro-Goldwyn "The
Bishop Murder Case." Paramount held their detective in
too high esteem to lend him elsewhere, so M.-G.-M.
depended on their own personnel, and Rathbone was
selected for the Vance of their film. He isn't nearly as
well known to fans as Powell, but he is an excellent
actor.
Rathbone is one of the highest paid of the stage players
now in pictures. His salary is reputed to be $2,500
weekly. It is very much of a question whether he will
stay in Hollywood permanently, because there is a gen-
uine demand for his services before the footlights at a
high salary. Movie companies don't seem desirous of
paying stage players highly for their work, until they
have won a screen following.
Disclaims Paternity.
"No, I'm not a father." So wired Raymond Hatton
from the desert not long ago. It seems that he was the
victim of a mix-up in names, and had received congratu-
latory messages from picturegoers. They had con-
fused him with young Raymond Hackett, whose
wife presented him with a son a few months ago.
Hatton declared he would like to enjoy the distinc-
tion of becoming a father, but wasn't so fortunate.
Very high praise is being given Hatton right now
for his acting in "The Mighty." Some are of the
opinion that it even outshines Bancroft's. Hatton
has been in talkies since the early Warner short
reels, but without much opportunity until now.
Barrymore Speaks Out.
The frankness with which the Barrymores an-
nounced the anticipated arrival of the stork in their
home is astonishing. There were no disgruntled
reporters returning from the interview, and on sev-
eral previous occasions, especially when inquiries
were made of John about his divorce, there were
plenty, both grumbling and mad. In admitting the
news of the expected new arrival,
he spoke right out, and even meticu-
lously said. "We are very happy and
excited in our anxiety over the com-
ing event."
Dolores Costello may be absent
from the screen for the better part
of a year. It is pretty certain that
she will resume her career at the
end of that time.
Barrymore has a daughter by his
previous marriage to Blanche Oel-
riebs. Friends say that he is hoping
the new heir will be a son.
Chanting Bebe's Praises.
Is it only a dream, or will Bebe
Daniels star in "Carmen"? From
all indications she has the gift of
voice that may enable her to interpret the famous role
for the talkies and singies. The demands naturally are
not so extreme as on the operatic stage. The projected
production is being much discussed.
Bebe has emerged triumphant from her first en-
counter with the microphone. Previews of "Rio Rita"
show her to possess unusual talent for the musical film.
She is virtually assured of obtaining a new lease on
success.
This girl's cleverness, and the industry she now mani-
fests, are astonishing for, just a few years ago, she was
regarded as a butterfly.
Church Weddings Popular.
All Hollywood was there ! All Hollywood, at all
events, was on the guest list of the wedding of Mary
Eaton and Millard Webb, the director, and a .majority
of the invited ones were present. The ceremony was
performed at the All Souls Congregational Church, with
Marilyn Miller as maid of honor, and seven members
of the Eaton family, including the father and mother of
the bride, present in various capacities. Three of the
sisters were bridesmaids to Mary, and two of the
brothers acted as best men. Only one brother, who hap-
pened to be in the East, missed the event. The Eatons
are very clannish.
Even greater popular interest surrounded Patsy Ruth
Miller's wedding. There is scarcely any star on the
Coast who is so well known and liked as Patsy. She
too was married in a church — at St. John's Episcopal.
The lucky man was Tay Garnett. Her bridesmaids
were Lila Lee and Lois Wilson, and the maid of honor
was Helen Ferguson, and Lois caught the bride's bou-
quet. It was one of the loveliest of filmland weddings.
Pola Negri, in "The
Street of Lost Souls,"
her British picture,
which will be seen in
this country.
Photo l>y Sashn
First Aid for Voices.
"Bring me my gargle, please."
We prophesy that the next
request to be heard on a picture
set will be that. And at Law-
rence Tibbetts' door may be laid
the responsibility for introduc-
ing it.
The preparations of Tibbett.
when he was about to do a
scene in his first production for
Metro-Goldwyn, "The Rogue's
Song," were the most elaborate
we have ever witnessed. He
gargled seven or eight times,
and then took a big drink of
lemonade.
But after that, he sang. And
how !
Highroad for Lowe.
Cheers for Edmund Lowe,
also more material compensa-
tion. Fox's very leading actor
nearly escaped the fold some
time ago, but the company de-
cided they would keep him, and
at a considerably higher salary
than he received previously. It
is reported that his present con-
tract starts at $4,000.
During the interim, when he
was undecided whether he would
stay with Fox or not, Pathe is
said to have been among those
negotiating for his services.
Lowe has been with Fox for
Hollywood High Lights
53
the better part of five or six years, and lias never
peared with any other organization, unless just lent out.
Mis success in "The Cock-eyed World" has contrib-
uted considerably to bis advancement.
Black Crow Saves Peacock.
Charlie Mack, of Two Black Crows, has settled his
peacock' troubles. Me bas secured mates for the lone
bird that he purchased as a pet some time .
The story bas been widely told of bow Mack, one
bright and early morning, .started a pursuit of his pet
that led all over Beverly Mills. Mack was clad only
in a nightshirt and dressing gown at the time, and at-
tracted no end of attention from milkmen and other
early-morning adventurers.
A peacock, it seems, is a bird that needs the sympathy
and understanding of its own kind, and if it lie a male
peacock the companionship is preferably furnished by
the female birds.
When he bought his peacock, Mack didn't know this.
He was brought to a stern realization of it when the
bird that he had took flight, and he had to chase it all
over kingdom come.
He wasn't even successful in catching the peacock,
though advised chaffingly by a passing milkman to put
salt on the bird's tail. Somebody else finally brought
it back to his house. This neighborly individual also
asked Charlie, with astonishment at his ignorance,
"Don't you know that you can't keep a peacock happy
alone?"
"No, I didn't," Mack replied, "but if it's a mate he
wants he shall have it."
Hence there was an early addition to the Mack barn-
yard.
Douglas
banks,
plays a
The Reawakening of Love.
' >ui oi sight, "in of mind — and vio
thing like this is descriptive of the romai Nils
Esther and Vivian Duncan, who ibly
married. Nobody i
each other sei iously. 1 1 iif-
ferenl types Nils elusi
cinating, and Vivian light-hearted and
least provocation.
Two years ago they were report
the match was declared off. Everyba ht they
bad just been kidding.
When the Duncan sisters came to the Metro-Goldwyn
studio to make "Cotton and Silk." it wasn't long until
\ ivian and Nils were being seen everywhere together,
and only a little while afterward they announced that
they would be married, eacb protesting that be or she
bad always loved only tbe other one during the time of
their suppose, | estrangement.
So another famous screen lover has capitulated, caus-
ing a rapidly increasing shortage of eligible bachelors.
A Multiplicity of Faces.
Paul Muni must be out to disturb Lon Cbancy's pre-
eminence. Mis newest release is called "Seven Fai
Investigation reveals that tbe seven faces aren't mcta-
phorical ones, either. Muni actually plays that number
of characters in tin- production, when he impersonates
figures in a wax works coming to life.
Tin's actor is by way of being one of tbe big "finds"
of the year. Mis work in "Tbe Valiant" pleased 1
audiences. Me is wry different from other screen per-
sonalities — a slender, aesthetic and very reserved type,
with very marked gifts as an actor.
The Roaring Bull.
If there are sounds of static, ground noises,
and other disturbing sounds in the talking pic-
tures that you hear, perhaps the explanation
for them has at last been discovered. For Bull
Montana has recently made tbe proud boast
that "I make all the terrible noises that are
heard in the talkies. You bear big noise
that's me !"
What Bull actually meant is that he
can produce very stentorian sound ef-
fects, like the roaring of lions and ele-
phants, and perhaps even a dynamite
blast.
Thus far we have not identified any
of the sounds that Bull is capable of
producing, but we have no doubt that
his special talents will find plenty of
expression in the future.
_ The Bull has also finally mar-
ried, and his intended, upon the
.announcement of their forthcom-
ing marriage, made it known that
he was a great lover. "You
wouldn't think he would be ca-
pable of a great love worthy of
the best traditions of the screen
— but he is," she said, with
considerable pride, "and some
day he'll take a leading part
in a film love epic."
Whether he is going to
prove a film Romeo or not.
everybody in Hollywood
knows that Montana
is a swell chap. And
that's enough.
Fair-
Jr.,
foot-
ball hero for
a change in
'The Forward
Pass."
*v
"
There's Point To This.
To be bit with a pie is such an age-old experi-
ence in the life of a comedian that it wouldn't
evoke the least ripple of excitement, but to be
attacked with a pick; and a sharp one -well, that's
a new form of slapstick. And Oliver Hardy,
stout funmaker, knows it.
Me and Stan Laurel were going through some
antics as members of a chain gang in a comedy,
and Laurel was supposed to nick him
with the sharp-pointed implement used
for digging holes. A real pick was
used for the scene, because a rubber
one looked faky. The nicking was
scheduled to be very light and affec-
tionate, as behooves two brotherly co-
medians. Unfortunately, Hardy, fac-
ing in the opposite direction from
Laurel, moved at the moment that the
pick was swung, and it pene-
trated the aft part of bis
trousers.
It is recorded that the yell
which he emitted put the
sound apparatus of the studio
out of commission for an hour
or two. and hereafter he will
insist on the use of rub-
ber picks only.
Still Merrily Prodigal.
A new start is to Ik-
made on the Paul
Whit eman picture
at Universal. The
lution apjK\v
54
The average press photo of President Hoover is anything but flat-
tering or ingratiating.
WHAT comes out of the camera when President
Hoover's face goes in ordinarily would not make
any mother, he she ever so great an optimist, rise
and exclaim, "Isn't he grand!"
Rather, she probably would be inclined to say, "Well,
Herbert's a good boy, anyway, even if he isn't
so awfully handsome. Look at his dimple when
he smiles ! Isn't it fetching?"
But when a photographer who makes pictures
of the movie stars takes Mr. Hoover in hand, and
uses the magic which seems con-
cealed in camera angles, the Presi-
dent of the United States loses not
a whit of his dignity — and gains in
attractiveness.
If times ever get hard for him
and money scarce, there will be
jobs for Mr. Hoover in the stu-
dios whenever a judge, lawyer,
banker, or diplomat is needed for
picture roles. He might pass, too,
as a secret-service agent, a captain
of detectives, or the boss of the
Thirteenth Ward.
During the heat of the presi-
dential campaign, when Mr. Hoov-
er's loyal supporters were anxious
to present their candidate pictori-
allv to the electorate, Ruth Harriet
Louise, photographer to the stars
Tkrougk Dif
When President Hoover looks into the
result is entirely unlike familiar pictures
on the change wrought in
B$ A. L.
at the Metro-Goldwyn studio, was asked to go
to Palo Alto, California, Mr. Hoover's home,
to make a series of s*tudies.
Pictures were wanted of him as he really is
— pictures which would show the passive, virile
strength he possesses, the grave yet pleasant
personality he holds in repose; the keen and
searching eye which seems fo weigh in the
balance any one with whom he is conversing.
It is not generally known that President
Hoover is hard to photograph. His face is
somewhat wide, his cheeks full, his head large.
He can, and often does, assume an expression
which is adamant. A newspaper columnist
wrote not long ago, "If I ever sat in a poker
game with Cal Coolidge and Herb Hoover, I'd
salt away taxi fare before the battle started."
Too often Mr. Hoover has been snapped by
news photographers looking absolutely expres-
sionless, when in reality his features evince a
kindly interest in everything, and in conversa-
tion he becomes, at times, almost animated.
The task given Ruth Harriet Louise was to
catch his moods or thoughts on photographic
plates, just as she catches the best expressions
of Greta Garbo, Norma Shearer, Anita Page,
John Gilbert, Ramon Novarro, and other play-
ers. So Miss Louise took her assistant, An-
drew Korff, and her electrician, Tommy Shu-
grue, and journeyed to the Palo Alto home.
"We telephoned from the station
upon our arrival," Miss Louise said,
in recounting her experience. "Mr.
Akerson, Mr. Hoover's secretary, ar-
ranged an appointment for one o'clock.
We drove out to the big,
rambling house situated
upon a knoll surrounded
by magnificent trees. A
few cars were standing
in the driveway when we
arrived. In front of the
veranda was a battered,
stripped flivver, evidently the
possession of some college chum
of young Alvin Hoover. The
grounds, the trees, the neighbor-
liness of the callers, the quietude
about the place, set at rest im-
mediately the nervousness we had
felt as we contemplated our ven-
ture. By the side of the home
was an old-fashioned garden,
with hollyhocks and morning
glories and a wealth of Califor-
nia flowers blooming in natural
harmony.
Ruth Harriet Louise, photogra-
pher of the stars, who plied het
magic art upon the president.
ferent Lenses
•
camera which photographs the stars the
of him, and it suggests a bit of reflection
the players themselves.
Wooldridge
"Inside the home the hand of Mrs. Hoover
was seen in everything. The Hoovers are
Quakers, you know, and do not go in for any
ostentation. The rooms were simply hut ex-
quisitely furnished, giving an air of rest, of
security, of seclusion and comfort. Mr. Aker-
son showed us through the downstairs rooms,
and I chose the dining room for the sittings.
It was one of those lovely, high-ceilinged
rooms, with oak-paneled walls and large win-
dows at one side.
''Now what shall I get you?' Mr. Akerson
asked.
" 'Nothing,' I replied. 'I think we have
everything.'
"Tommy, my electrician and lighting expert ,
was going over the switches, plugs, and connec-
tions, preparing, if necessary, to run extra
cahles from the power wires. We had brought
along two broads and one spotlight. But
Tommy found the electric wiring ample and
there was little to do, save connect and tesl
our lights.
"Mr. Hoover is writing his speech of ac-
ceptance to-day,' Mr. Akerson explained, 'the
speech he is to deliver to-morrow. He will
come, however, the minute you
are ready.'
" 'We are ready now.' I re-
plied.
"In a moment the door
opened and Mr. Hoover came
in, walking swiftly toward us
to shake hands.
" 'Well, I'm at your mercy.'
he said, smiling genially. "Do
whatever you want with me.'
"I noted instantly that he
was a trifle tense, probably
from his writing. He sat in
the chair I had placed against
the wall and smiled a bit
feebly.
" 'I wonder,' I said gently,
'if you will relax a bit. You
have been writing a long time,
haven't you? Here, take this
book and read a little, while
we adjust the lights.'
"I puttered around with this and that, but noted pres-
ently that he was interested only in our preparations.
His eyes were focused upon the lights, as if he were
trying to figure out their mechanism. I snapped the
shutter in the camera without his knowing it.
' 'We'll be ready pretty soon,' I assured him. 'Let me
get a plate into this camera.'
"I switched in the second plate, took a peep to sec if
he still was in proper focus, then walked away, chatting
about inconsequential things. Presently he looked down
at his book and really began to read, and as quickly as
Pholo l»v I.ouisv
This natural, home portrait of
Mrs. Hoover also brought out
her distinctive personality.
U.i'li 11
When President Hoover is carefully posed and
lighted, the man himself emerges from the plate.
I could I pressed the bulb. Another exposure
without his knowledge!
"I stepped to his side as if to smooth a
wrinkle in the lapel of his coat. Then, of a
sudden, he relaxed and smiled. There, looking
through the door, was Mrs. Hoover. I caught
that smile, genial, whole-hearted, perfectly nat-
ural, as quickly a^ I could reach my camera.
I believe it is the only smiling portrait of Mr.
Hoover in existence. Then I had him stand
while T took his picture in many poses. When
T finished, he said. 'Thank you very much ! Xow
I'm going OUt. I will get Mrs. Hoover for you.'
"lie seemed very relieved. Presently he re-
turned, leading Mrs. Hoover by the hand and
introduced US.
"'I was SO happy to see how comfortable he
seemed,' Mrs. Hoover said, recalling the glance
she had through the door. 'He didn't act as
though he was being photographed at all.'
*"I believe, if anything, .Mrs. Hoover was more nerv-
ous than her husband. She is a beautiful, charming
woman, whose most outstanding physical feature is a
wealth of exquisitely silvered hair. She said that above
all else she wanted her pictures to be natural. She sal
in the chair Mr. Hoover had used, but rose quickly and
asked. 'Ho you mind if I select another chair? This
one isn't SO comfortable.'
"She soon relaxed, and presently 1 had her standing
ntinaed on page 108
56
Tke Stroll
er
Our ironic observer of Hollywood happenings indulges in amusing confidences.
By Neville Rea?
Illustrations by Lui Trugo
A COLUMNIST who's supposed to write about
motion pictures in this day -of detonating cellu-
loid — if he has any recollection of the past at all
— realizes more and more that he has become merely
a foreign correspondent for New York musical shows.
If he is to write at all, he finds himself confronted
by playwrights, librettists, dialogists, composers, singers,
and hoofers — and occasionally an actor.
Madge Bellamy recently said, "Talkies ! You stand
around most of the time. The only actor I ever saw who
could just stand and look imposing, was an old English
Shakespearean Thespian. He could stand and look im-
portant better than he could act."
The lingo of the Great White Way has descended
upon us. Sputtering spotlights have been eliminated, so
we can't suffer from tales of the tourists' horror at hear-
ing "Kill that baby." Broads have become floods and
we are freed from another Marx Brothers' pun. This
is possibly the most salutary effect of trust-controlled
garrulity.
Music is considered important. It has a special fea-
ture in that it deadens the scraping noise which raw
dialogue has as its natural affinity. Several pictures
recently have had such lovely music that I couldn't hear
the voices. So I didn't know what the stories were
about.
Now "The Idle Rich"— called "White Collars" in
some spots — has an obbligato of voices, dish washing,
auto motors, the crash of plates from Venice Pier, the
traffic of Washington Boulevard, the grinding of cam-
eras, and the wailing of infants. I am convinced that
such sound could not have been produced entirely syn-
thetically. However, the director doubtless was har-
assed by that scraping sound and set his crew to work
making noises that would drown out the static.
Like a recurrent theme song, I am back to
Mack Sennett got stuck for a neat sum, be-
cause one of his players whistled a tune in a
picture. The tune was fifteen years old, but
the owner of the copyright heard it and de-
manded payment. He bought a new car
with the money. Spies hover about sound
stages listening for these taboo tunes, and
control themselves only with difficulty when
they catch a company flagrante delicto.
In fact, it is no longer safe for a producer
to use any music until he searches the archives
for copyright. Strauss, the Viennese com-
poser, recently heard "Ramona," and asserts
it is exactly the tune of a waltz he wrote
thirty years ago. I don't know what he's
going to do about it. I'm willing to let a
dead tune lie. The world only needs a courageous soul
to apply for an injunction against "The Pagan Love
Song" — nice tune and all that — but I know a man who
died from eating too much candy.
Parenthetical note for those interested — Ramon No-
varro sang the song in the film, but the voice was put
in after the scenes were filmed. That's why it seems to
be the voice of a double. Novarro doubled for himself.
All over the world people are rushing to recopyright
old music, so they, too, can buy new cars. The In-
ternational Society for the Protection of Foreign Tunes
has been organized. One Hollywood ham has obtained
a copyright on all Christmas carols. He's broke right
now, but he won't be for long. He sits in his room like
a miser and paws the music, making unintelligible
sounds faintly reminiscent of a Mexican gourd in the
harvest season.
Lady Godiva, the famous portrait-egg layer of Hol-
lywood, is dead, a victim to her art.
Lady Godiva, a White Leghorn princess, broke into
fame two years ago. After an attendant had tacked up
a portrait of Clara Bow in her private coop, Lady Godiva
astounded the world by laying an egg, the shell of which
bore perfect features of Miss Bow.
Subsequent displays of portraits of such stars as
Laura La Plante, John Boles, Greta Garbo, Douglas
Fairbanks, and others, brought forth eggs bearing their
pictures.
One night a misguided enthusiast hung up a picture
of Archie Mayo. To-day Lady Godiva is dead — unable
to produce an egg large enough to serve as a canvas for
the celebrated director.
Tom Reed, newly promoted story editor of Universal,
music. has just returned from the high Sierras, where he
Rabbits collided with him, thinking he
patch of snow.
Tke Stroll
er
b,
made exhaustive experiments in the art of protective
coloration.
Reed, pestered by story applicants, turned iii despera-
tion to natural methods of obliteration. In the snow of
the high Sierras he was so successful in practice that
rabbits frequently collided with him, thinking he was
merely a patch of snow. Tn the sun and dust of San
Fernando Valley, Reed wanders about looking like a
patch of sun and dust.
He has been taking lessons from a Yogi fakir. Now
he can throw a rope into the air, climb up it and disap-
pear, to become visible later in a locked projection room.
"That's a good story." said a playwright.
"Yes," said the scenarist, "but it should have a theme
song."
"Correct," said the producer. "Let's get John Brown
to write it. He's good at that sort of stuff, (let him."
Three weeks later the musical director reported that
the man couldn't be found.
The producer insisted that he wanted to sign up the
songster.
Finally an office boy, who delivers the mail on the
lot, overheard the discussion and timidly interrupted.
"You looking for John Brown, sir? Maybe I can
help you."
"Well?"
"He's in office No. 17. He's been under contract to
us for six months, sir."
Those who write about society in this town have
spoken of opening nights. So I will, too. Without
using lots of periods to take up space and prove I'm
of the impressionistic school. I'm not of any school.
The etiquette of first nights is weird. It involves
many delicate social problems, when between acts one
is uncertain as to conduct.
One must never be seen standing alone. Little groups
must instantly form like ants around a lump of sugar.
Everybody in a given group talks and nobody listens.
All are eying other groups more distinguished in per-
sonnel, appraising their chances of butting in. One
must be seen with the best possible group. Don't ask
me why.
By an actor's conduct you can gauge his financial and
contractual standing — whether he is out of a job, secure
in a contract, or hoping that his option will be renewed.
1 — Out of a job — talk loudly, buzz from group to
group, wave to everybody you ever heard of and shake
hands with all directors, supervisors, and producers who
will condescend to recognize you. 2 — Secure in contract
— be very upstage, talk only to
others who are under contract, be
democratic and cheerful toward all
producers, you may be let out some
day. 3 — Contract up for renewal
— contrive to be near your produ-
cer's group, but yet with a "dis-
tinguished" group, if you can man-
age to have another producer in
your group your contract is safe,
look very bored with it all.
Spies
She was unable to produce an egg large enough to accom-
modate a likeness of the huge director.
Ibe trouble is that Will won't stick to his written
dialogue. He insists upon ad libbing with impairment
to the thread of the story. So after every scene the
huddle is called, the new attack is laid out, the buck is
passed, and Will tackles the wrong words again.
The person who wrote Lee Tracy's snappy, vaude-
ville monologue scene for "Big Time" comes under the
heading of the city's greatest optimist. The theater was
filled with extras for the audience, as Tracy was about
to go through his paces in the act that gets him into the
big time.
"Now the audience has to laugh at the right spots,"
said the director. "Let's rehearse."
"Rehearse!" scoffed the author. "Let's shoot it the
first time and get their natural laughs. That'll be much
better. Let 'em hear the patter cold, and it'll bowl 'em
over."
So they did. Grim, deadly silence greeted all the
quips. It wasn't a put-up job. The extras were sur-
prised, too.
'flic director then put up a big electric light and
turned it on every time the audience was supposed to
laugh. He turned it off as a signal for the hilarity to
subside. When you bear this act on the screen you'll
be expected to laugh.
After the fiasco, the director looked for the author
to make a few comments, but the sketch artist had
thrown a mental fog about himself and had drifted out
the ventilator.
A supervisor, notorious for his weakness when ap-
proached by salesmen, bought six graves last week.
Since be has only two relatives alive. Hollywood spec-
ulation seems to indicate that this
is an informal way of announc-
ing his intention to marry.
hover about sound stages listening
for copyrighted tunes.
is no longer
The huddle system
confined to football.
The director calls, "Signals."
The gag man, scenario writer, dia-
logue writer, assistant director and
script girl rush together, whisper
hurriedly, and then shift back to
the camera line where Will Rogers
is working.
A couple of little things that
drifted in off the road this week
from small towns.
In one town the theater owner
wanted his house equipped for
talkie-. So a producer put in the
apparatus and gets half the l
forever for having done it. the
owner of the building sets thirty
per cent for rental, and from the
other twenty |>er cent comes the
film rental — for the producer —
with the remainder as profit and
salary for the manaj
Also the town where the I
her. the general - . ner. the
Continued on papo 110
:>8
Even Buddy Rogers,
right) tries his luck in
"River of Romance,"
sideburns and all, and
after one hurried
glance, the fans unani-
mously turned their
thumbs down.
Avtfful Mustackes
Many fans have a weird mustache complex and will un-
doubtedly find reason on this page for fiery letters de-
nouncing the masculine decorations.
Eddie Nugent, above, as
Dave, in "The Girl in the
Show," may possibly escape
the wrath of his friends and
even 'get honorable mention
in "What the Fans Think."
The new mustache of Rich-
ard Dix, center, has already
been condemned by fan writ-
ers who just couldn't see
the sense of it at all.
A soldier in foreign uniform sim-
ply must have a mustache, so Rich-
ard Arlen, below, rose to the oc-
casion.
Grant Withers,
left, in "Hearts
in Exile," ac-
quired o n e of
those bristly,
he-man mus-
taches, and no
doubt h i s girl
fans fail to ap-
prove — just
why, even The
Oracle possibly
could not ex-
plain.
When The}>
LoVe Out Loud
June Collyer has her own ideas of the
voltage power of spoken love scenes versus
silent ones and lets us in on some secrets.
By Laura Ellsworth Fitch
THERE was a time when sheiks of the
screen could recite their laundry list,
college yell, or telephone number in a
love scene, and the sheba could reply with a
dreamy memorandum of her grocery list — and
it registered as torrid as a Dorothy Parker
poem. But that was hefore Warner Brothers.
Now they're making love with real words and
music, and if you think the technique isn't just
too different for anything, it's because you
haven't talked it over with June Collyer.
June's the girl who know r s. In the first place
her recent pictures have seen and heard her
opposite Buddy Rogers, Richard Dix, Conrad
Nagel, Walter McGrail. George O'Brien, and
other thrillers.
. On top of that, she's rumored around Hol-
lywood as the leading lady they really get a
"crush" on. And why not? June is as pretty
and charming and debutantish off the screen
as she is in the shadow. Thanks to her fa-
vorite brand of cigarettes and her sense of
humor she misses the ingenue class, but is well
up in the category of our very nicest girls.
Buddy Rogers has made no secret of liking June an
awful lot. Nor was Richard Dix immune to the play
of her dimples during "The Love Doctor." Another
gentleman used to write poems to her between scenes.
Still another sent flowers to her dressing room daily.
Is it any wonder I became curious and asked June
co take me to lunch, so that I could ask her whether or
not the natural style is cramped by having to speak the
other fellow's love lines, and if there's as much in-
spiration in loving out loud as there was in the silent
days ?
She wore a cream-lace dress, with a large picture-hat.
and looked fussed when I brought up the subject.
"Oh, it's different, all right," she admitted and "acted
nonchalant," as advised by the cigarette ads, "but I don't
know whether it is more inspiring.
"You see. love scenes in dialogue arc really very
ticklish to handle. You have to be so careful not to
make them silly. If they become too glowing, the audi-
ence laughs and the romantic effect is ruined. There
is only one phrase in love-making that an audience can
tolerate without feeling self-conscious. That is 'I love
you.' When the hero launches into some glowing ac-
count of how madly he wants the heroine, or extols the
beauty of her eyes, for some unaccountable reason it
sounds terribly silly.
"Because of this. I think talking pictures will be the
swan song of the very passionate love scene. When it
was silent we could use our imagination about what was
being said. But when they try to fit words to match the
action it becomes faintly ridiculous.
"Maybe you have already noticed a tendency toward
lighter love scenes in the talkies. I think they are trying
Photo by Hesser
When June Collyer is engaged as leading lady to a masculine star,
he is almost sure to fall in love with her.
to suggest rather than demonstrate. The fewer love
phrases that are used the more convincing the scene.
especially if there is a beautiful song running through."
June laughed. "Heaven knows what would have hap-
pened to the love scene if the tin me song hadn't stum-
bled along. It has helped us out oi more than one tight
spot. People will believe and feel music, where words
leave them cold."
But it wasn't the reaction of the audience that par-
ticularly interested me. What ahout the players them-
selves? Wasn't it vastly inspiring to have the lover
actually sounding his emotions in his deepest and most
Vitaphonic appeal ?
June crinkled her nose in a characteristic ruood. If a
pretty girl could make a face that was it.
"Do you think it would he particularly interesting to
hear your hoy friend recite some other man's thoughts
while making love to you? You would feel that you
were acting in a play, wouldn't you? That's almost the
feeling we have. Certainly nothing very personal
ters in.
"The picture I have just finished with Budd} R
is a perfect example of what I mean." she said. I hope
you haven't forgotten what 1 said ahout Buddy and
June really liking one another. Tt rather hears on
what she said.
"The name of the picture is •Illusion" and we have a
beautiful love scene. The setting is A marble
bench — a quiel lake — a sloping lawn — moonligl
ning clothes music in the background. And the dia-
logue some one so kindly wrote for us was sweet. (
tainlv everything was conducive to romantic feeling.
vou'l'l admit. But was it? -inn..!.- pagi 115]
GO
Winsome Nancy Drexel did well in "The
Four Devils," but where is she now?
EVERY movie has its theme song
these days, but for Hollywood as
a whole, insidiously twined and
intertwined through every movement,
played and replayed as a reprise, is a
chorus beginning with "Give me a
break."
I strongly suspect that ninety-nine
per cent of the prayers offered in the
churches during silent devotion begin and end
with "Give me a break."
For every extra, every bit player, and every
leading man and woman will tell you on the
slightest provocation, or no provocation at
all, that all he or she needs is a break, "And,
boy, howdy! Watch my smoke !"
The novitiate into the affairs of Hollywood
is led to believe that once you get a break
your troubles are over. But, alas and alack!
A break does not always make a star, or
are stars always made by breaks. Consider
just a few who have attained the much-
sought break.
Duane Thompson, for instance.
Duane has looks, she has far more than ordinary ability, and she
has what, in Hollywood, is even rarer than both these, and that is
intelligence. She was doing nicely as leading lady for Walter Hiers
in the last series of two-reel comedies he made for Christie. About
the time her contract expired, Charles Ray was being refinanced in
an effort to stage the well-known comeback. He wanted Duane for
his leading lady and she, feeling that she was getting a very big
break, left Christie and took the role. On the strength of her work
in comedies and in "Some Punkins" with Ray, she was chosen a
Wampas star.
Nine times out of ten that is enough of a break for any one with
any talent. In Duane's case it militated against her rather than in
her favor because, following this distinction, a jinx fastened itself
on her which she has never been able to shake off although she
valiantly fought back.
The)? Got What
Among players great and small in Hollywood the
But when it comes, too often it proves to be a snare
bitter let-down. This informative article
By Samuel
Directly after the Wampas selection, she was signed for
the lead with Alexander Carr, in "April Fool." This fin-
ished, Fox chose her for the ingenue in "The Return of
Peter Grimm." To play in this picture she was forced to
refuse offers of leads in two others, both of which turned
out to be outstanding hits. After Duane had rejected these
two offers, Fox decided to use Janet Gaynor — at that time
little known — in the role, and Duane was left high and dry,
without explanation.
She has worked since then, but she has never been able
to overcome her jinx, and to date her breaks have meant
nothing. One reason advanced for her failure to click is
that she has too much character to play
ga-ga flappers, and not the stature for
heavy roles. This is possible, although,
if photographed from certain angles,
she looks enough like Pauline Frederick
to be her twin. Whatever the reason,
it is too bad.
Take the case of Virginia Lee Cor-
bin. Six big pictures* in one year —
"Headlines," with Alice Joyce and Mal-
colm McGregor, a starring contract in
"Lilies of the Streets," and "The City
That Never Sleeps," supported by Ri-
cardo Cortez and Louise Dresser. In
this she wore her first long dress, being
Prince Youcca
Troubetzkoy once
was leading man
for Pola Negri,
surely the break
supreme.
What good did
Blondes" do
"Gentlemen Prefer
Ruth Taylor?
61
Trie? Wanted, But
theme song is "Give me a break — give me a chance!"
and a delusion, bringing only momentary glory and a
cites the fate of some conspicuous cases.
Richard Mook
thirteen years old at the time. Followed "The Cafe of Fal-
len Angels," directed by James Cruize, "Broken Laws," co-
featured with Mrs. Wallace Reid, Arthur Rankin, and
Percy Marmont, and "The Chorus Lady," in which Mar-
garet Livingston starred.
On the strength of her performances in these pictures
she was chosen a Wampas star in the same year as Duane
Thompson. She is a good dancer, too, as she proves in
Colleen Moore's "Footlights and Fools," but the fans have
never accepted her.
At present she is in the East in
quest of a stage engagement. Her
mother vouchsafes the opinion that
her daughter belongs more to the
stage than to the screen, adding that
"Virginia has always been difficult to
handle, possibly because she feels the
deep emotional power within herself
and is, therefore, not content to por-
tray the silly, flapper roles that are
given her."
Whatever the cause, Virginia's
name appears less and less frequently
on the billboards, and she has never
done anything to justify the breaks
she undoubtedly has had. My own
opinion is that she grew up about ten
Duane Thompson is said to have
everything the screen wants, but she
languishes in neglect.
•Ani^'-r^,
too late. Ten years ago her blue-
>lond prettiness would have made
fo-day her type
Twice Roland Drew
played opposite Do-
lores del Rio in big
successes.
years
eyed,
her an instant favorite
is passe.
Hugh Allan burst into fame in "Dress
Parade" in support of William Boyd. He
worked almost steadily for a year after
that, among his pictures being "Hold 'Em,
Yale," with Rod La Rocque, and "Annapo-
lis," with John Mack Brown. His no-
tices were almost uniformly good. In fact,
although cast as the heavy in "Annapolis."
when the picture was previewed it was
found that 1 high bad all the sympathy and
it was necessary to retake many of the
scenes in such a way as to leave no doubt
that it was John Mack's picture and not
Hugh's.
Many a maid spent sleepless night-, as T
can testify since reading some of his fan
mail, after seeing his handsome face flash across the screen. Hugh's
failure to click may he attributed solely, I believe, to lack of pub-
licity. In addition to his good look- and rather pleasing voice, he
has sense and refinement.
Coming hack to the Wampas. Lina Basquette rode into promi-
nence on a wave of sympathy. She was working with Adolphe
Menjou, in "Serenade" — one of his lust, incidentally. During the
making, her husband, Sam Warner, died. Steeped in the traditions
of the stage. Lina realized only one thing. It was that despite per-
sonal grief, "the show must go on." Rather than hold up produc-
tion, she continued during the time of her husband's death and his
funeral. Her splendid spirit won the admiration of the producers,
who were anxious to sign up girls like that.
Before "Serenade" was released Cecil DeMille offered her the
lead in "The Godless Girl," and on the strength of these two en-
gagements she was elected to the Wampas coterie.
Partly on account of the Wampas publicity and partly because
of her connection with the two Alms noted above, neither of which
had been released, she was signed for leads opposite Richard Bar-
62
They Got What They Wanted, But-
Sally Phipps, a piquant beauty, played
leads in several popular pictures.
This
Hugh Allan created a furore
in "Dress Parade," but his
fans look vainly for him
nowadays.
thelmess in two pictures. tins engage
ment finished, her films began to be
shown and since then Lina has done noth-
ing worthy of note. Apparently a case
of a lucky break, with nothing to back
it tip.
Mary Duncan came to Fox fresh from
her stage triumph as Poppy, in "The
Shanghai Gesture." She was starred in
her first picture as well as in subsequent
ones — "The River" and "Our Daily
Bread," both with Charles Farrell, and
"Through Different Eyes" and "The City Girl." When "The Four
Devils" was first shown as a silent picture in New York she was
starred above the title of the picture, Janet Gaynor, Barry Norton,
Charles Morton, and Nancy Drexel being merely featured.
The picture was withdrawn to have talking sequences added and
when it was released a second time, Janet was starred and Mary
Duncan was only featured with the others. As this goes to press she
is working in "Conquistador" as a featured player, but her breaks
have meant nothing to her, for the public and the critics have never
accepted her as a first-rate screen actress.
Betty Bronson got all the publicity in the world when she obtained
the coveted role of Peter Pan and created a sensation a few years ago.
Mary Brian and Esther Ralston were merely members of the cast.
The latter two rose to the heights without the usual breaks, while Miss
Bronson dropped from sight for a time, eventually coming back to
score another bull's-eye in "A Kiss for Cinderella." This seems to
indicate that she is a one-part actress and there are, unfortunately not
enough of those parts.
She disappeared again after the latter picture, nothing much being
heard from her save an occasional plaintive aria from one of the horse
operas she was making. Suddenly the bell clanged loudly. Betty had
hit it a third time supporting Al Jolson, in "The Singing Fool."
I expected a starring announcement after that, but nothing happened
except a paragraph announcing her departure for Europe on a vacation.
She has the reputation of being the most ill-advised girl in pictures.
Whether it is that, or the fact that she does not have to take her career
seriously, or that she has been shifted from one type of part to another
so frequently that the public has never had a chance to classify her, I
do not know. But she has never achieved the position to which her dis-
tinctive ability entitles her.
A similar case is that of Ruth Taylor. When she was exploited in
"Gentlemen Prefer Blondes," you couldn't pick up a magazine or news-
paper that didn't have a picture or paragraph about her in it. She was
the "find" of the year, according to the studio. However, when the
smoke of battle cleared, Alice White was marching serenely toward
stardom, while Ruth listened rather vainly for the plaudits expected
from her break.
Finding film work scarce, she went on the stage and got some good
notices. The talking craze hit Hollywood and now she is working in
two-reelers for Christie, but it is doubtful if she will ever be able to
cash in fully on the
break she got.
I think the public
resented the choice of
Ruth Taylor in pref-
erence to some of its
favorites who were
publicized as being
very anxious for the
role. Possibly this had
much to do with the
lack of enthusiasm
which greeted her per -
formance in "Gentle-
men Prefer Blondes."
Malcolm McGregor
got splendid notices
for his work in "The
Prisoner of Zenda" —
better, in fact, than
Continued on page 94
Mary Duncan was
starred in "The Four
Devils" and "The
River," but what of it?
03
1 he lorso 1 riumphant
Physical culturists all over the world point to George O'Brien
as a powerful example of what constant, intelligent training
will do to the human body, while George himself gets as much
satisfaction out of his fitness as he does from his acting.
Mr. O'Brien, left, finds standing on his
hands almost as easy as standing on his
feet. All one .has to do, he says, is to use
one's shoulders as an axis and throw one's
feet overhead. Sounds simple to George,
but it requires trained muscles.
Mr. O'Brien's surf board, right, is indis-
pensable to the equipment of his beach
home. Having been made to his order, it
is exactly the right weight, size, and bal-
ance — very important points to remember
when you try the sport.
George, left, reduces his tennis
equipment to the least possible
weight and laughs at those who
prefer fancy sweaters and such.
But this simplicity of garb i
sible only in California, at his
beach home.
In the pink of condition, tireless, and not pubj-
the little ills of ordinary folk, George O'Brien,
s always ready for a race or a swim to ke.
torso triumphantly strong and muscular. It's all a
matter of inclination, of course, says the sedentary
individual who writes the<c captions between rheu-
matic twinges and shortness of breath.
64
Julia Faye, Kay Johnson, and Conrad Nagel respond to Cecil DeMille's demand for perfec-
tion in "Dynamite."
ere erv m E>eVieur
Cecil DeMille redeems himself with a glorious gesture to the box-office, stage players
score on their first appearance in pictures, and the fall season is in full swing.
CECIL DeMILLE'S first experiment with dialogue
is completely successful. In employing speech to
drive home points, as well as play upon nuances of
thought and feeling, he has produced a brilliantly effec-
tive picture called "Dynamite," yet dialogue entails no
sacrifice of the traditions of the screen — and of DeMille.
The film has movement, excitement, the strong, far-
fetched contrasts in which he revels, as well as the
uniquely glittering embellishment for which he is fa-
mous, including something trcs chic in the way of bath
tubs — a glass one !
Often "Manslaughter" has been cited as his picture
of most popular appeal. This, in my opinion, exceeds
it. For, aside from the newly found advantage of
speech in portraying character and emotion on the screen,
the situations in "Dynamite" are poignant, contrived
with the utmost skill to pique curiosity, to accumulate
suspense and gradually to storm the emotions. All this
is timed with tactful shrewdness, directed with superb,
easy authority, photographed beautifully and acted mag-
nificently. "Dynamite" is an astonishing picture.
A recital of the plot would give you the same unfavor-
able reaction that it gave me before I saw the picture,
for robbed of its optical and aural appeal it is, I fear,
completely moviesque. I am faintly ashamed of it, be-
cause the bare synopsis has Cynthia Crothers bound
by the terms of her grandfather's will to marry and live
with her husband on her twenty-third birthday in order
to inherit untold millions. And Cynthia is in love with
a married man, Roger Tozzme, the husband of her
friend, Marcia. So the girls talk things over, Marcia
asking $200,000 to divorce Roger and Cynthia offering
half that amount, in the deliciously cynical manner ex-
pected of society people animated by Mr. DeMille and
Jeanie Macpherson. But when you see this scene
played in dialogue by Julia Faye, as Marcia, and Kay
Johnson, as Cynthia, it takes on unexpected values — ■
and you believe it, as you do the whole story. ,
When Cynthia and Marcia make their pact, there is
still another step that Cynthia must take to be sure of
her inheritance. She must marry at once, for the time
before her birthday is short. So she offers $10,000 to
Hag on Derk, a miner convicted of murder, to go through
the ceremony before his electrocution. But within a
few minutes of the fateful moment he is pardoned
through discovery of the real murderer. He goes to the
girl's modernistic home to see what's what while a jazz
party is in progress.
Out of this situation it is no tax on the imagination
to believe that Mr. DeMille and Miss Macpherson have
left no stone unturned, no word unsaid, no emotional
impasse unguarded to build up a climax that shall unite
The Screen in Review
the pampered society girl and the rough miner.
It is an ostrich plume in their respective caps that
they have been able to do it believably.
In this they are immensely aided by the actors.
Kay Johnson, on the occasion of her debut in
pictures, gives a breathtaking performance of
sheer beauty. Sensitive, eloquent, gayly humor-
ous, agonized, tragic, she reaches perfection so
often that one sits hack and defies her to miss
a step in her marvelous play upon the emotion-.
Charles Bickford, also from the stage and a de-
butant, too, is the miner. His performance could
not he bettered, his stalwart honesty so convincing
that it springs from inner conviction rather than
any apparent histrionism. Julia Kaye, heard for
the first time, is amusingly feline and her light,
expressive voice fits perfectly the characters she
usually plays. Conrad Nagel, as Roger, is at his
best, and from time to time the spectator is
treated to sharply etched bits of fine acting by
Muriel McCormac. Leslie Fenton, Robert Ede-
son, and Jane Keckley, and pleasing glimpses of
Joel McCrea, Nancy Dover, and Scott Kolk.
Murder in the First Degree.
Once again the craze for musical comedy not
only relegates a strong, dramatic situation to the
background, but deliberately stifles it. This ar-
tistic crime occurs in "The Great Gabbo," which
should have been a brilliant picture but isn't, even
though a fortune has been spent on prancing
chorines and languid figurantes in spectacular set-
tings, some of them in color, all to the end of
bringing the "Follies" to the "sticks," I suppose
But the screen has not yet succeeded in reproduc-
ing precisely the sumptuous glamour of a Ziegfeld
show. So that's that. Betty
What remains of the story after the interrup-
tions of pageantry and dancing, concerns Gal^bo.
a ventriloquist, cruel, domineering, a super-egoist, whose
assistant, Mary, is devoted to him. They struggle along
in cheap theaters until the inevitable occurs. Gabbo gets
on the big time and eventually is the stellar attraction of
musical comedy. Meanwhile Mary has been dispensed
with, but she too rises and coincidence brings them to-
gether in the same show. After a struggle with himself.
Gabbo realizes that he loves her and that he has never
been happy without her. The dramatic climax, such as
it is, consists of nothing more startling than Mary's
revelation of her marriage to Frank, a singer in the
troupe, and Gabbo's agonized withdrawal. Naturally
his anguish is intensified by the discovery of Mary's
bad taste in preferring Don Douglas to Erich von
Stroheim.
Missed opportunities in the picture center around the
character of Gabbo, a figure of fascinating complexities
hardly suggested in the treatment accorded him by
scenarist and director. Outwardly cruel and hard, he-
is at heart tender, poetic. Terrified by what he knows
to be his real self, he conceals it from the world — all
but Otto, his dummy, to whom he pours out his heart
and who, through the words Gabbo puts into his mouth
becomes more human and lovable than his master.
Surely an interesting character study this Gabbo. but
his inner conflict is hardly more than suggested, all the
care having been lavished on the musical comedy stuff.
However, it is hardly a negligible picture and Mr. Stro-
heim's Gabbo is, as might be expected, unlike the role
would have been had any one else played it. Further-
more his voice, heard for the first time, isn't nearly so
Teutonic as expected. Betty Compson, as Mary, plays
a backstage role familiarly.
Compson and Erich von Stroheim share honors with a
ventriloquist's dummy in "The Great Gabbo."
For Those Who Know.
"The Lady Lies" is a picture to smack one's lips over.
It is enormously intelligent in every particular — story,
direction, dialogue, acting — and it has the additional
virtue of novelty. There's nothing hackneyed or Holly-
woodish in the drama of a father whose children, hardly
out of the nursery, decide to break up his liaison with
a lady outside the social pale. Nor is there anything
routine in the acting of Walter Huston, as the father,
and Claudette Colbert, as the lady. It is impressively
simple, sincere, modern. Xot only should it be seen by
every fan. but it should also be observed reverently and
a little fearfully by the majority of the ladies and gentle-
men of tlie screen who have recently broken into speech.
for it is an augury of the new standard acting is attain-
ing, and proof that speech can be free of elocutionary
taint vet possess the polish and expressiveness that come
only from cultivation and long practice.
This is true equally of Mr. Huston and Miss Colbert,
but as this is the hitter's second dialogue picture it is
doubly refreshing to record her complete success and
to wax jubilant over her photographic values, more
apparent now than in "The Hole in the Wall." In
every respeel Miss Colbert is a "find" of purest ray
serene. One hopes that her allegiance to the stage will
at least be temporarily lessened in order that she may
make not only an occasional picture, but frequent one-.
Her role is unusual. Joyce Roamer, a charming girl
in a smart shop, permits Robert Rossiter, a widower, to
provide her with an apartment because they love each
other. Hut when his fourteen-year-old son becomes
aware of the affair and tricks her into coming to see him.
she is made to realize that she stands between tin
00
The Screen in ReVieW
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"Big Time.
and his sister and their father. But she refuses to give up Rossitcr,
even when she hears the hoy declare that he should marry a woman
in his own set. Finally the children are made to repent their inter-
ference and realize that Joyce is a thoroughbred.
This gives but slight inkling of the plot, often tense in its de-
velopment, and not a hint of the gay, sophisticated character studies
contributed by Charles Ruggles and Betty Garde. And I'm afraid
that even my unbounded enthusiasm doesn't do justice to the
loveliness, charm, and skill of Miss Colbert. Please see her and
decide if "The Ancient Mariner" isn't right.
Introducing Winnie Lightner.
Though "Gold Diggers of Broadway" throws no new light on
the subject of either gold digging or Broadway, the attractive
title calls attention to another musical comedy of the films.
Like "On With the Show" it is entirely in color and this, to-
gether with dialogue, singing, and dancing, will put the picture
over with those who are easily diverted by entertainment of the
lightest sort.
It frequently reveals pronounced optical beauty, it has moments
of hilarity and there is at least one song hit, "Tip Toe Through the
Tulips With Me." Yes, it has all these elements of popularity, but
— and I may as well break down and confess all — it made me restive
when it attempted to tell its pale, little story. When musical
comedy was rampant, I had no kick coming, because one can think
of something else if there isn't enough on the screen to hold a
vagrant mind. But when plot peeps timidly between the interstices
of swaying choruses, the spectator sends his intelligence to meet
and welcome it. If the story is anaemic, old-fashioned, and not
worth while, he retires within himself and lets others applaud the
dancing, singing, and choral groupings. That's exactly what hap-
pened to me in watching "Gold Diggers of Broadway."
We thought the original comedy sophisticated and pungent on
the stage nine years ago, because it was a cynical exhibit of the
private lives of show girls, with enough sure-fire sentimentality to
make it popular with those who overlooked its worldly implications.
But times have changed and gold-digging chorines are looked upon
casually nowadays. So the yarn of wealthy Stephen Lee, who sets
out to rescue his juvenile relative from a mercenary chorus girl,
and ends by falling in love with one himself — no, no Nanette, this
won't do for the merry year of 1929.
Ah, but there are compensations. A new one materializes every
time Winnie Lightner appears on the scene. She is a rowdy comic,
late of musical comedy and vaudeville. Possessed of the enviable
quality of disarming criticism by the sheer gusto of her clowning,
Miss Lightner adds to it a warmly human friendliness that makes
you feel it wouldn't be right to utter a word of reproach if she
spilled the soup down your back. She saved the show for me —
she and Lilyan Tashman in the role of a ritzy chorus girl.
Conway Tearle's return to the screen emphasizes the well-worn
axiom that time cannot be stayed in its flight, even by color pho-
tography, and that disdainful acting no longer evokes enthusiasm.
Nancy Welf ord forsakes " the stage to play the heroine coolly,
capably and colorlessly, in spite of all the color surrounding her.
And Ann Pennington, the dancer, also leaves the stage to its fate
to challenge the camera, but exhibits little of the dancing that has
made her famous. Familiars such as William Bakewell, Albert
Gran, Gertrude Short, Lee Moran, and Nelly Edwards are pleas-
ant to see in their proper element, and Nick Lucas, from the stage
and radio, is a sort of crooning interlocutor.
Such Is the Kingdom of Heaven.
Frequently an unpretentious picture has the charm denied a big
one, but not often is a trite story lifted into realms of greatness
by the acting of a single performer. But Lee Tracy, the stage actor,
does just this with "Big Time," the film which accomplishes his
debut. Though just another backstage story of a vaudeville hoofer
who deserts his wife for a blonde menace, his new partner, Mr.
Tracy invests it with such intimacy, reality, and poignance that
his performance ranks with the best the screen has yielded this
season, and the picture becomes a triumph of a lesser sort. With
such gifts as Mr. Tracy brings to it, I should like to call it a
The Screen in Review
67
major triumph, but the modesty of the film is such that one
feels it would be an embarrassment to place it in a class high< r
than its intent.
The story traces the humble professional Deginnings of Eddie
Burns and Lily Clark, whose partnership ripens into marriage a»
they struggle along the small-time circuits. Finally, the coming of
a baby makes it necessary for Eddie to hire a substitute partner in
Gloria, who succeeds in vamping him at the momenl a telegram
comes offering big time. At the same moment comes also his wife
who, quickly sensing the situation, leaves Eddie to his fate with
Gloria. Soon he loses his foothold as a big-time attraction and
his quick descent rids him of Gloria. Reduced to slinging hash, he
hears that his wife is in Hollywood where, as a starving extra, he
meets her, a star. Of course there is quick reconciliation, which
surprises no one. But beauty and truth and tenderness are found
in Mr. Tracy's marvelous portrayal of the dancer — a portrait so
delicately etched that one is thrilled by the actor's uncanny and
seemingly effortless grasp of a moment charged with emotion by
means of a catch in his voice, a stammer, a laugh that ends before
it is heard. Mae Clarke, who is also from the Stage, plays the wife
with moving sincerity, and Josephine Dunn is, as usual, perfect as
the heartless blonde. Stepin Fetchit, the negro actor, creates laughs
as a keeper of trained seals.
Queen of Frenetics.
After "The Letter" any appearance of Jeanne Fagels is im-
portant, for she is always arresting, intelligent, provocative, indi-
vidual.
She is all these in "Jealousy," but the picture doesn't coalesce
into a strong attraction, and certainly not one strong enough for
Miss Eagels. One of the reasons lies in the fact that the play was
written for two characters only, Yvonne, the mistress of a rich, old
man, and Pierre, the poor, young artist whom she marries. In
bringing it to the screen the producers have necessarily included
scenes and characters that were only spoken of in the original
dialogue. The result is a somewhat rambling narrative lacking
distinction, or marked sympathy for any of the characters. But it
is worth seeing for the sake of Miss Eagels, who makes Yvonne
a fascinating figure far from the conventional heroine with a "past."
She marries Pierre, because she really loves him and lies to escape
the consequences of her deception. But when his jealousy becomes
more and more intense, she is drawn by further lying into an im-
passe from which there is no escape. The climax comes when her
former lover is murdered and an innocent man is arrested, a fine
note of irony occurring when Pierre confesses his crime to Yvonne
at the moment newsboys are shouting the news of the other man's
release. And that's all there is to it.
Fredric March, as Pierre, does well enough in a role that some-
how isn't interesting, but Halliwell Hobbes, from the stage, per-
forms brilliantly as a man that is— the rich lover,
A Modern Miles Standish.
If you like thrilling airplane maneuvers, you will find them the
feature of "Flight," and finely done they are, too. But if you
demand something more of screen entertainment, you will find
the picture rather weak. For example, in the story and char-
acterizations.
At the outset it is only fair to say that the acting of the princi-
pals, Jack Holt, Ralph Graves, and Lila Lee, is good. But what
they are called upon to do is not exactly adult, though Heaven
knows Mr. Holt has passed the age of indiscretion in acting, lie
is "Panama'' Williams, a sergeant in the marine Hying corps, given
to talking out of the side of his mouth and expectorating tobacco
juice, but so shy that when it comes to telling Lila Lee. as Nurse
Elinor, that he loves her, that — well, he just has to get his youthful
protege to do it for him. The protege is Mr. Graves, as "Lefty"
Phelps, a football player, who has joined the marines in an an-
guished effort to forget the stigma which he fears will forever
brand him as long as men in civilian life regard him as a pariah.
My, my, what is the stigma, you ask? Have a heart — Lefty was
guilty of a faux pas on the football field. So far as I could see.
he just ran the wrong way. [Continued on page '">]
"Gold Diggers of Broadway.
"Flight."
"The Hottentot."
"The Girl from Havana."
08
A Confidential Guide to Current Releases
WHAT EVERY FAN SHOULD SEE.
"Hollywood Revue" — Metro- Gold wyn.
All singing and talking. Highly enter-
taining kaleidoscope of songs, dances,
and skits, with an impressive list of
stars. Like a glittering stage revue,
with no story, yet not a dull moment.
Marion Davies, Marie Dressier, and
Albertina Rasch ballet take honors.
"Hallelujah" — Metro-Goldwyn. All
dialogue. An epic in its true meaning
in the portrayal of the ups and downs
of a cotton-belt Negro family, as the
film reveals the inner life in striking
interpretations. There has never been
a film like it in the dramatic sweep of
a simple plot. All Negro cast directed
by King Vidor.
"Cock-eyed World, The"— Fox. All
dialogue. An explosive, profane, and
rather vulgar, but highly diverting, con-
tinuation of the amorous adventures of
Top Sergeant Flagg and Sergeant Quirt
of "What Price Glory?" The war over,
new affairs are found to blossom in the
tropics. Victor McLaglen, Edmund
Lowe, Lily Damita, El Brendel.
"River of Romance" — Paramount. All
dialogue. An old film made over for
talkies, with Buddy Rogers "The Fight-
ing Coward," who refuses to fight, hut
gets results by bluffing. Dueling pe-
riod of the South. Acting of high or-
der, atmosphere authentic. Alary Brian,
June Collyer, Wallace Beery.
"Last of Mrs. Cheyney, The" — Metro-
Goldwyn. All dialogue. Drawing-room
drama, whose heroine edges into society
to rob her hostess, with tricky and arti-
ficial aspects to whole story. Norma
Shearer does well. Basil Rathbone,
Hedda Hopper, George K. Arthur,
Maude Turner Gordon, and several
stage recruits.
"Dance of Life, The"— Paramount.
All dialogue. Taken from the play
"Burlesque," backstage life is pictured
sympathetically and grippingly. The
story of a little dancer who sticks to
her worthless husband, a likable clown.
One of real backstage pictures. Hal
Skelly, Nancy Carroll, Dorothy Revier,
and excellent support.
"Single Standard, The"— Metro-Gold-
wyn. Brilliant acting by Greta Garbo,
although the story is not an inspiration.
Arden Stuart attempts to live her own
life freely, but conventional mother love
dispels her theories. Nils Asther, John
Mack Brown, Dorothy Sebastian, Lane
Chandler, Robert Castle, Kathlyn Wil-
liams.
"Greene Murder Case, The"— Para-
mount. All dialogue. William Powell
with a smoother and greater interpretation
of Philo Vance, the popular fiction detec-
tive. Strong mystery unraveled to sur-
prising solution, with fine performances
and restrained lines. Florence Eldridge,
Ulrich Haupt, Jean Arthur.
"Evangeline" — United Artists. The
familiar poem done with great pictorial
beauty and moments of poignant emo-
tion. Dolores del Rio's finest perform-
ance since "Resurrection," sincere and
infinitely pathetic. Roland Drew and
Donald Reed good support.
"Thunderbolt"— Paramount. All dia-
logue. Romanticized movie under-
world, with exceptional touches paving
the way for excellent acting. George
Bancroft, as the king gunman, seeks
revenge by framing a rival lover, but
is himself undone. Fay Wray reveals
hidden talents, and Richard Arlen
scores. Good supporting cast.
"Dangerous Curves" — Paramount. All
dialogue. Rattling good -picture, with
Clara Bow in a serious role. Heart
tangles in a circus troupe, with unex-
pected developments. Strong support
from Richard Arlen, and intrigue de
luxe by Kay Francis. David Newell
also a nice addition.
"Fashions in Love" — Paramount. All
dialogue. Adolphe Menjou's first talkie
and last picture for Paramount, and
one of his most engaging ones. Deft
story of philandering husband and a
wandering wife who went back to
their respective home nests. Fay
Compton, Miriam Seegar, John Miljan.
"Wonder of Women" — Metro-Gold-
wyn. Part dialogue. Dignified, beauti-
ful portrayal of a genius who fled from
his simple fireside to renew his associa-
tions with a prima donna and his awak-
ening to his true inspiration. Marvel-
ous acting by Lewis Stone, and Peggy
Wood ideal as his wife. Leila Hyams
the singer.
"She Goes to War" — United Artists.
Incidental sound. War picture with
unusual story and magnificent acting,
in which a girl dons her drunken
fiance's uniform and goes to battle,
and is awakened to real life. Alma
Rubens and Eleanor Boardman give
fine performances, and the talents of
Edmund Burns are 'brought out. Tohn
Holland, Al St. John, Yola d'Avril, Glen
Walters, Eulalie Jensen.
"Studio Murder Mystery, The" — Par-
amount. All dialogue. Film studio
crime unraveled by gag man and po-
lice, with suspense, many laughs, and
after_ suspicion points to five persons,
a satisfactory solution is hit upon. Neil
Hamilton in leading role gives engag-
ing performance, Fredric March the
murdered actor. Florence Eldridge's
talking debut. Warner Oland, Doris
Hill, Lane Chandler, Eugene Pallette,
Chester Conklin.
"Where East Is East"— Metro-Gold-
wyn. Silent. Troubles of a jungle
animal hunter, who seeks happiness for
his untamed daughter. Lon Chaney as
you would expect him, Lupe Velez, and
Estelle Taylor in a brilliant role. Lloyd
Hughes also at his best. Splendid at-
mosphere and a picture to see.
"Man I Love, The"— Paramount. All
dialogue. Striking film of prize fight-
er's drifting and his come-back in the
nick of time. Richard Aden's pleasing
talkie debut as the fighter who is cap-
tivated by Baclanova, but in the end
knows his heart is with his wife, Mary
Brian. Swiftly presented, engrossing.
Leslie Fenton effective.
"On With the Show"— Warner. All
dialogue, singing, dancing, and entirely
in color besides. Gayety and beauty of
musical comedy, with young love of an
usher and coat-room girl, with other
issues galore. Entire cast does well.
Betty Compson, Louise Fazenda, Sally
O'Neil, Joe E. Brown, William Bake-
well, Arthur Lake, Wheeler Oakman,
Sam Hardv. Etkel Walters.
"Bulldog Drummond" — United Art-
ists. All dialogue. A melodramatic
thriller, with sophisticated viewpoint
which makes fun of what transpires.
Story of bored ex-war hero, who ad-
vertises for adventure and gets it.
Ronald Colman vitalized and remade
by speech, giving memorable perform-
ance, ably seconded by Joan Bennett,
Lilyan Tashman, and Montagu Love.
"Madame X" — Metro-Goldwyn. All
dialogue. Old-time melodrama of
mother love superbly vivified by fresh
dialogue, modern direction, and superb
acting, with Ruth Chatterton and Ray-
mond Hackett as mother and son reach-
ing heights of tear-wringing emotion
in famous courtroom scene, where
wretched woman charged with murder
is defended by son taught to believe her
dead. Lewis Stone, Eugenie Besserer,
Mitchell Lewis, Holmes Herbert, and
Ulrich Haupt.
"Valiant, The"— Fox. All dialogue.
Grimly uncompromising picture notable
for introduction to screen of Paul Muni,
whose place among leaders now is un-
challenged. Story of murderer's efforts
to convince sister that her brother is
not himself, but a soldier who died a
hero. Marguerite Churchill also fine,
and John Mack Brown does well.
"Pagan, The" — Metro-Goldwyn. Sing-
ing. Treat for Ramon Novarro's fans
and justification of all they've read of
his singing voice, which is delightful,
exceptional. Story of young South Sea
Islander's love for half-caste girl. Dor-
othy Janis, Renee Adoree, and Don-
ald Crisp.
"Rainbow Man, The" — Paramount.
All dialogue. An irresistible picture,
with finely balanced sentiment and fun,
with Eddie Dowling, the stage star, and
his young partner, Frankie Darro, in
minstrel-show settings. They find
Marian Nixon and love and trouble.
Dowling is a knock-out.
"Divine Lady, The" — First National.
Silent. A series of exquisite paintings
animated with poetic feeling and a little
drama. Lovely presentment of Lady
Hamilton by Corinne Griffith and
finely modulated Lord Nelson by Vic-
tor Varconi. H. B. Warner, Ian Keith,
Montagu Love, Dorothy dimming,
Marie Dressier.
[Continued on page 118]
G<;
Tke Stepchildren
Make WKoopee
A small group of young, foreign-born devotees of
cinema art are keenly happy with their evenings
of home cooking and lively talk of the finer things.
By Madeline Glass
OVER hills and down dales we went, sweeping
around curves, following the winding highway at
a pace as torrential and dangerous as it was un-
necessary. Barry Norton sat at the wheel of the road-
ster, arms bare, collar open, a hlack tarn pulled snugly
over his head. In the back seat Lilya Vallon, the dancer,
and Bert Le Baron, the actor, hent their heads against
the fierce onrush of wind and consigned their fates to
the gods.
"Why," I inquired, leaning nearer the speed demon,
"are you in such a hurry?"
"I want to get there ahead of the rest of the gang."
Barry shouted, his determined gaze never leaving the
gray strip of graveled road.
Although we were going at a seventy-mile clip, an-
other car appeared behind us, drew gradually and per-
sistently nearer, until we finally got a signal to stop.
An expression of acute apprehension flashed over Nor-
ton's features. Barry, the most arrested actor
in Hollywood, did not relish further trouble
with the arm of the law.
The four of us sat in guilty silence watch-
ing the officer approach. What a dismal way
Lilya Vallon, actress, dancer and singer, is one
of the lights in the little foreign circle.
Tlioio by Ball
Photo by Duncan
Ramon Romero, the scenarist, is a
free spirit who indulges in gay
suspenders and garlic.
Barry Norton, a leader in
the group, says that America
has art, but does not appre-
ciate it.
to start a gay Sunday out-
ing! The policeman made
straight for the driver, who
was wearing his most guile-
less expression.
"I just want to warn you
to be careful," began the
officer, in a soft, ingratiat-
ing voice. "You are driv-
ing too fast. I want you
to have a good time, make
whoopee, hut drive a little
slower. We are all to-
gether," he concluded gen-
tly, "and 1 want you to en-
joy yourself, hut just he
careful."
1 le shook hands twice with
the men in the car. who
apologetically promised obe-
dience to the law. Miss
smiles and grateful thank-,
and the four
Vallon and I bestowed upon him our
A few more reproving words in that benevolent tone
of us would have wept on his shoulder.
"He's drunk," said Barry, laughing, as we went on our way.
Drunk he was, alas !
Later we told the gang about the incident, describing the officer's
dulcet voice.
"I'll bet he's practicing for the talkies." said Ramon Romero.
the scenarist. "I was arrested on a traffic charge not long ago,"
he continued. "When I told the judge how it happened, he took
pity on me and let me off without a line. As 1 left the court I was
thinking bow lucky I was. and absentmindedly picked up the judge's
hat and wore it away. When I discovered the mistake. I was afraid
70
The Stepchildren Make Whoopee
Photo by Bruno
Good cooking is the party gift of Gloria Gray,
ingenue during working hours.
to return it, as he might have
changed his mind about the
fine."
I became acquainted with
them about a year ago, these
playful, reckless, mercurial
stepchildren of Hollywood.
Nearly all the young people
comprising this particular
gang are foreign born, and all
of them are pursuing a career.
Actors and actresses predomi-
nate, with a number of writers
and dancers lending variety.
Their lives sweep along on
precarious artistic seas, to-day
in the trough of despondency,
to-morrow on the crest of op-
timism and good fortune.
Although they have some
of the characteristics of the
traditional bohemian, they ac-
tually do not belong in that
group. Bohemianism usually
is indicated by bizarre studios
and sunless apartments, in-
Paul Ellis is a South American
whose life is swept along be-
tween harmless whoopee and
artistic pessimism.
a promising
habited by young people who work hard at being dif-
ferent. The bohemians of Hollywood, if one may call
them such, are surrounded by beacbes and sunsets and
gay bungalows. It is not necessary for them to attempt
to be different ; nature saw to that.
Unlike the annoying, artificial puppets who raced
wildly through modern-youth films, talking in a series
of labored wisecracks, these young folk have their
serious moments, their worthy ambitions, and their
surprisingly alert minds. They discuss everything
from garlic to grand opera, and read the most striking,
if not the most profound, literature. Some of them
speak several languages ; some are skilled musicians.
An extremely interesting character is Ramon Ro-
mero. His father is a Roumanian, his mother a Span-
ish Jewess. The family name is Moscovisch, but upon
entering the writing profession, Ramon changed it to
Romeo. Barry Norton kidded him so much that he
soon altered it to Romero. At any rate, Ramon is a
very interesting individual. When not making whoopee
with the gang, he writes scenarios and plays, "The
Apache" and "Tropic Madness" being examples of the
former. His conversation is smart and entertaining.
One of his prime ambitions is to have a stately home
with the name "Casa Nova" brazenly topping the front
gate. He would think of that.
Another conspicuous member of the gang is Marcel
de Biraben, brother of Barry Norton. He came from
the Argentine a few months ago as correspondent for
several Buenos Aires newspapers. These two brothers
and Paul Ellis, born Manuel Granado, are the only
South Americans in the movie colony. Paul is a re-
served and likable chap and, like most of the others, is
trying desperately to discard his accent. Four out of
five suffer from this ! I must say that Hollywood will
lose much of its color and spice, if it is ever recaptured
by the Americans.
And then there is Gloria Gray, an ingenue of prom-
ise, whose success in the movies has been intermittent.
She has been working steadily the past few months
and, if given the right opportunity, she will score. Re-
member her as the heroine in "The Girl of the Lim-
berlost." Gloria is of the
Alice White type, with thick,
golden hair and immense,
blue eyes. She plays the pi-
ano, rides splendidly, drives
her own car, and cooks. Yes,
cooks. I've seen her, and
I've eaten the food she has
prepared.
Recently at the home of
one of the girls we enjoyed
a spaghetti dinner which was
cooked and served by mem-
bers of the gang. The food
was excellent, the diners at
their gayest, and my only re-
gret was that the conversa-
tion which flashed above
that merry board could not
have been recorded in short-
hand.
"How much garlic did you
put in this spaghetti ?" asked
Ramon of the chief cook.
"About twelve heads," said
Ruffo.
"You use more than that
when you make it at my
place," remarked Ramon.
Continued on page 106
71
Tkat Mystic
Urge to Act
Almost every one feels it, either
as a call to the stage, or as a wor-
shiper of a player, according to
Lenore Ulric, who gives Picture
Play readers a rather surprising
explanation of the dramatic in-
stinct.
B$ William H. McKegg
A
FTER spending four hours, in-
stead of the expected one with
Lenore Ulric, I wanted to rush
down the hallway shouting "Eureka!"
That's just how I felt. For I had
asked and asked, again and again, hut
never could any of the players give me
a deep enough explanation to the ques-
tion I put before them.
For a long time I had sought an an-
swer to "Why do people want to act ?"
During the course of the interview,
I asked this question of Miss Ulric.
Without hesitation she jumped into
the topic and fetched to light all her
conclusions on the subject.
That's why I wanted to shout
"Eureka !" when I left her. I almost
told the elevator boy all about it, and
felt sure the doorman would like to know. But I calmed
down until I got home, and decided to tell it to Picture
Play. Everybody who wants to act will understand
now, thanks to Lenore, why they have that urge.
You see I went to visit Miss Ulric to obtain, as I
thought, just another interview. Her
apartment on Wilshire Boulevard was
full of light and fresh air.
Miss Ulric entered, wearing a simple
white dress and ankle socks. Her
large, brown eyes glitter intensely, as
if the light within came from tremen-
dous depths. Her black hair, with a
coppery glint, is bobbed and thick, mak-
ing her face seem small, almost childish.
As I said, I intended hearing from
her the usual comments ; but as soon as
I discovered that here was one player
who had given more than
superficial thought to her
art, I figuratively threw
the prosaic interview out
of the window.
"Why do people want to
act ?" Lenore echoed in her
huskv voice. "I'll answer
by first explaining why
people want to see acting.
The Ulric personality was
caught so well in "Frozen
Justice" that she was given
a contract for two pictures
a year.
Photo by Autivy
Miss Ulric believes that in acting she is giving expression to memories of a
former existence.
"Every human
self — from drab
being
, wants to get away from him-'
surroundings and routine. We all
seek some unknown goal, which none
of us can explain. All the strange.
whispering dreams in the depths
our being are overshadowed. That is
why people attend the theater. Actors
create illusions for them. An audience
feels uplifted after seeing a good play,
or a picture. You will hear many say.
'1 felt quite taken out of myself."
"The church has the same effect on
people in taking them out of them-
selves. A church ceremony, with its
throbbing chords from the organ, in-
tonations, incense, and sermon, causes
a congregation to feel 'carried away.'
Religious beauty draws their minds
from troubles and worries.
"Up to that point I think the
church and the stage are closely al-
lied. People patronize both places
for the inner comfort they derive.
Tn ancient days the temples US*
stage spectacles for the public. The
idea which prompted them was the
hope that people would be carried
away, or taken out of themselvi
"A priest will sway his congregation, just
an actor will his audience. Each works
for the same resull —to make peopli
their surroundings and be swept away by his
power."
72
That Mystic Urge to Act
"Everything we do is the result of groping for
strange, unknown goals." — Lenore Ulric.
When Lenore Ulric talks she is almost swept
away by herself. It is not affectation, either, but
the surging, dynamic quality of that sweeping
force within her which urges her on. If she si-
lences herself while talking, to find the right word,
her hands rotate in small circles. Then, finding
the word, on she goes again at a terrific rate.
"Everything we do — the great deeds, the mis-
takes, even the badness — is the result of trying to
realize our dreams, of groping for that strange, un-
known goal, of giving way to that force nature has
placed inside us, which urges us on to work for
our innermost desire.
"In the first place, there is at least one grain of
beauty and goodness in everything and everybody.
I can feel compassion for those termed bad by
others. A drunkard may have made himself one
while seeking after that unknown goal. While in a
torpor he believes himself in another world. Like
the opium smoker, he is carried away. It gives
him temporary relief, though in using such dan-
gerous methods he ruins himself.
"The stage and pictures are safe mediums by
which people gain relief from boring routine.
People must always worship. They have prayed to
the sun, fire, and idols. Not that they were
heathens, but because they used these mediums as
symbols of that Great Unknown we call God.
"Greeks and Romans of old worshiped various
gods and goddesses representing different emotions
— love, music, sport, and others. Though two thousand
years have passed, people still have the memory of such
worship in their inner minds. They give expression to
such memories in adoring the stars of the stage and
%
Photo oy Autre?
Miss
Ulric
excels in
portraying
vivid
emotions.
screen. They regard actors as the personifica-
tion of various emotions — and through seeing
those stars they see themselves and are carried
away.
"Day dreams are vague and useless, if not
carried out in reality. In visiting the theater a
man sees the daydreams and emotions which
have often stirred him, but which he never has
had a chance to express. The screen does the
same thing for him. Both are mediums
through which people can see their inner
dreams and yearnings materialize.
"That is why I think stage people compare
to teachers of a religion. They reach certain
heights and win adoration from the public, just
as great spiritual leaders are worshiped by the
populace."
This is correct. I nave often met young
men who, previous to going on the stage, had
desired to become clergymen. And opera
singers who had begun as priests.
"The average person thinks emotions and
various roles, instead of acting them ; of get-
ting them out of his system. A musician can
get rid of these emotions through playing and
composing, an artist through painting them on
canvas. But not everybody has developed a
talent, though everybody could. That is why
so many are unhappy.
"We all seek for that unknown goal. In-
stinctively we know that there is some great
source of love and happiness and peace and
beauty. It is while striving for it that we make
so many blunders, for desire often leads us
into wrong channels.
"Every individual has the urge and de-
sire for acting within him. Every child
acts — and nothing seems more real than the
make-believe games of childhood.
"Since talking pictures
have appeared," Miss Ulric
went on, "it is surprising
how many things the play-
\ ers have discovered they
\ can do — such as singing,
t| dancing, and playing — tal-
\ i ents they had but never had
\ developed."
\ Miss Ulric is a firm be-
liever in reincarnation. This
she explained, as a solution
to my question, is what
urges people to give ex-
pression to so many talents.
In past lives we have done
many things, and those tal-
ents are still buried deep in
our minds, waiting for re-
lease.
"As to why people want
— " Lenore leaned back in
her chair. "The personalities of
different lives we have lived in past
ages never leave us. These per-
sonalities remain ever in our mem-
ory — for nothing can destroy mem-
ory. It is memory that stirs in people.
That is what forces many to become
actors. They are urged to portray past
incarnations, to take on the personali-
ties of past lives. In acting they can
do so . [Continued on page 109]
to act-
Their Black Magic
The dark art, combined with the skill of the camera man,
can produce some marvelous results in motion pictures.
73
<j
\
E 1
m ■
L ""• > >2»* I A i
BR
IN%S ^31
rj^B
W isi?
^»t - ;;i " ^"* , w«bK j I^
I. i k c Houdini,
Lon Chancy, left,
explains his own
I rick in "West of
Zanzibar." T li e
ball vanished by
dropping into the
hollow of his
right hand.
Charles Rogers, below, who jug-
gles hearts in "Illusion,'' reached
into his silk hat and pulled out a
dog, where the ordinary magician
would have found only a rabbit.
JT H
Eddie Quillan and his sister,
Marie, above, are magician
considerable parts in "Noisi
Neighbors," and nonchalantly
materialize all sorts of things
right out of mere nothingnc— .
The most mystifying trick of
voice throwing, is performed bj
Erich vim Stroheim, left, with
the aid of Little Otin, in "The
Great Gabbo," and this combina-
tion play- a big part in the pic-
ture.
And now come Stan Lairn I
Oliver Hardy, below, magician-
extraordinary, with an astound-
ing repertoire of tricks desi)
to outwit the keenest eye ; but,
alas, "I faw down" is the i
alibi ottered when every one of
stunts is badly balled i
" fhe I lollywood Revue."
I i
Renee Adoree is as innocent of artifice as a child, quick
to anger and as quick to repent.
A COMPLEX personality is easy to get down on
paper. Inhibitions and nuances of temperament
make fair sailing on any typewriter. But the keys
balk at the unaccustomed effort to describe a child. I
mean Renee Adoree, who embodies the simplicity, the
directness and naive honesty of childhood.
Her naivete is not coy ; her simplicity is not wide-
eyed ; her directness is not premeditated. She is as inno-
cent of artifice as a child. Born in the world of the
theater, and an actress ever since, there are no frag-
ments of precocity clinging to her. She is as pungently
real as the soil.
Born while her father's little, traveling circus paused
briefly in Picardy, she is half Spanish and half French,
but temperamentally she is purely Gallic. No traces of
the languor or subtlety of the Latin are to be found in
Renee. She is swift of movement, candid, quick to
anger and as quick to repent. Her moods are mercurial,
changing with the winds, but she is not what is known
as a moody person, because she is not given to brooding.
When she is sad, she is just that — not lugubrious. What-
ever her humor, it is always apparent.
A good actress on the screen, it would never occur to
her to disguise her thoughts while away from the cam-
era. Because, unlike many of her contemporaries, she
is not playing herself in real life, she is being herself.
And not being herself in the conscious, back-slapping
manner which is the Hollywood conception of the term.
Renee does not deliberate. She does not think. She
lives and breathes and feels.
Emotional rather than mental, she lives in obedience
to impulse, to instinct. Entirely devoid of foresight, she
Renee— As Ske Is
An analysis of Miss Adoree's character reveals
one of the unique personalities of Hollywood.
By Margaret Reid
precipitates herself into many a disaster, of which,
sportsmanlike, she never complains. Cleverer people
than Renee can prevent much misfortune. Shrewd-
ness is an invaluable weapon of defense. Renee lacks
it herself, and is at a loss to combat it in others.
Her strongest weapon is the high courage with which
she faces bad luck when it comes.
Her life has been a stormy one, colorful, fabulous.
Her fund of personal anecdote is unlimited, but she
only reveals it casually in intimate conversation. She
does not realize its value as a story. It is just what
has happened to her — and things happen to everybody.
When reporters question her, she is apologetic for lack
of material to give them. "I was born in a circus and
worked there till I went on the stage as a dancer, and
then I got a job in pictures, and that's all."
As a matter of fact, no journalistic report could pos-
sibly encompass the drama of Renee's life. It is a
Zola story, and cries out for his facile pen. In the
absence of fimile, it can only be sketched lightly, for
tear of infusing with unreality a career that has been
far stranger than fiction.
Renee's childhood was nomadic. Her home was the
lumbering caravan in which Adoree pere and mere,
with their little brood, trekked from town to town and
country to country. All over Europe, in obscure vil-
lages, or on the edge of great cities, they would set up
their one small tent. As the family increased, each new
addition was trained, almost from birth, to grace the
sawdust ring.
At four years of age, Renee was galloping blithely
around the ring, standing on the bare back of a pony.
At eight, she was a trapeze artist, a tight-rope walker,
a toe dancer, and an expert at helping with the pitching
of the tent, looking after the horses and selling the
tickets. A sporadic education was acquired along the
way — during halts in Germany, Austria, Italy, Spain,
Russia. Glibly Renee learned her lessons in as many
different languages as Europe boasts.
When she was twelve, she was apprenticed to a famous
circus in Paris. As was the custom, she was to serve
an apprenticeship of five years, receiving, in return for
cooking, sewing, and general assistance, her bed and
board and instruction in the more spectacular tricks of
the trade. The owner of the show, a Turk, was not
exactly a paragon of gentleness. Renee's training was
relentless — a broken shoulder sustained in a fall from a
galloping horse was just part of the day's work.
Because of her love for horses and her understanding
of them, little Renee almost immediately became ring-
master, among her other accomplishments. Standing
in the great sawdust circle, a tiny figure with a whip
five times her length, she directed the speed and grouping
of eighteen galloping horses.
Then, on a morning when the Turk was breaking in
several new equines, Renee's apprenticeship ended ab-
ruptly. The new animals, being novices, would not hold
their heads in and keep their mouths shut. One horse,
after galloping round the ring, began to pant, his tongue
hanging out. The Turk, in a burst of temper, snatched
a knife from his pocket and, with one cruel stroke, cut
the horse's tongue quite off. [Continued on page 104]
75
Photos by Clarence Sinclair Bull
Renee Adoree's life has been a stormy one, colorful, fabulous,
says Margaret Rcid, who modestly declares that no journalistic
report could encompass the drama of Rence's life. However, in
the story opposite, you will be startled by its high lights.
76
Another picture of backstage
hind the Make-up," not only
but promises to throw new
the souls of
Hal Skelly, left, as Hap Brown, a
mediocre performer, sees Fay Wray.
as Marie, the girl he loves, married to
William Powell, as Gardoni, a charla-
tan, who dominates them both.
Alluring Kay Francis, below, as Kitty
Parker, comes into Gardoni' s life
when he makes a success on the stage.
Mr. Powell, above, as Gardoni, reaping the
reward of ideas supplied by Hap Brown, is
introduced by Miss Francis to Paul Lukas,
as Count Boris.
Down and out, Hap Brown, right, accepts a
job as dishwasher in the restaurant where
Marie is waitress and is only too happy to be
near her.
77
mer s
life, appropriately called "Be-
boasts a most interesting cast,
and more searching light upon
player folks.
Jacques Vanaire, right, as Gardoni's
valet, reminds him of an engagement,
much to the resentment of Fay Wray,
as Marie, who doesn't want her hus-
band to leave her an instant.
Hap Brown, below, urges Gardani to
pull himself together, little dreaming
what it will mean to himself.
Miss Wray, above, as the little waitress h
dazzled and partly hypnotized by protesta-
tions of love from the now-famous Gardoni,
and decides to marry him if he will ask her.
The separation of Hap and Gardoni as pro-
fessional partners distresses Marie, left, who
asks Hap how he is going to get along
without Gardoni.
78
Gret
a
Almost every other star has served
can be sure that Miss Gar bo will use
her new film which, at this
Greta Garbo, as Irene, at top of page, is un-
happily married to Anders Randolf, as Gttarry.
In the oval, below, Irene attends a tennis
match with Lew Ayres, as Pierre.
Ah, and here; above, is Miss Garbo, as Irene, on the witness stand,
defended by Conrad Nagel, as Dubail, who has loved her hopelessly all
these years.
79
On Trial
her time in courtroom drama, but you
different means to sway the jury in
moment, is without a name.
Miss Garbo, at top of page, unhappy in the
midst of luxury, reflects on how little life holds.
In the oval, below, Irene, distraught, tells her
maid that she is at home to no one.
Anders Randal fv above, frenzied by the thought that Lew Ayres, as
Pierre, is his wife's schoolboy lover, attempts to kill him while Irene
desperately restrains the husband she hates.
80
\
Miss Dove; above, as Rodeo
West, makes peace among
her brood of girl enter-
tainers.
Miss Dove, left, in a char-
acteristic moment in the sar-
torial life of a night-club
hostess.
Siren of the
She's Billie Dove, as "Rodeo" West, in
the least, colorful, if we may judge the
Edmund Lowe, below, as Brood, Rodeo's manager,
protector and adoring, though undeclared lover, stands
by while she administers a rebuke to an unruly patron.
Night Clubs
"The Painted Angel," whose life is, to say
truth from the scenes on this page.
Miss Dove, below, about to prance through a bridal
number for the edification of her guests, suddenly
decides that she will marry Mr. Lowe, as Brood, in
earnest, with this result.
Rodeo West, at top of page,
center, rehearses her girls in
the popular cowboy number
which always puts patrons
of her club in good humor.
And here, right, is a close-
up of Miss Dove as leader
of the frolic.
Robert Montgomery and Joan Crawford, above
that nothing shall separate them.
Ernest Torrence, right, finds Bingo in Mr
stateroom.
83
It's Great To Be
Famous
Though it is hard on the postal clerks, as
you will agree when you read this unusual
article.
B? A. L. Wooldridge
4
d
JOIN the navy and see the world!" invites
Uncle Sam on the billboards scattered
about the country.
"Join the postal service and see funny letters !" say
the mail clerks who serve Hollywood.
There isn't a place on earth where such odd, puzzling
addresses are received. If it were not for the fact that
postal employees are consistent patrons of the movies.
and know who's who on the screen, several hundred
pounds of letters from fans would go to the ash heap
each year. The men who handle the mail take an interest
in decoding the freakish things. Literally hundreds of
"Guess-who-I-mean" com-
munications find their way
to the rightful owners.
For instance, a large en-
velope on which was pasted
the picture of a dog, ad-
dressed merely "Holly-
wood," was mailed in De-
troit, Michigan, last Feb-
ruary, the postmark shows.
In the upper right-hand
corner of the envelope was
written a return address.
The letter was "tied out"
in Detroit, as the postal
clerks say, for California.
On its way West a railway
mail clerk routed it to Hol-
lywood. In the Hollywood
post office a distributing clerk saw the picture of the dog,
recognized it immediately, and dropped it in a pouch
consigned to the Warner studio. Within an hour or two
it was delivered to Lee Duncan, owner of Rin-Tin-Tin.
The contents bore out the judgment of the mail men.
Lon Chaney's letters frequently bear only his picture as a means
of identification.
A few days later a letter was mailed at Frie, Pennsyl-
vania, on which there was nothing more than the smiling
face of a man, and the words "God knows where." But
the face with the smile was easily recognized, and the
letter was promptly started toward California. It was
delivered to Al Jolson.
"Nobody could mistake that map!" the comedian
chuckled, when the letter was handed to him.
Dozens of letters arrive bearing pictures
,<V
w$~.
This letter found its way to Al Jolson, because mail clerks
know their movies.
A cut-out picture and "Hollywood" was all
needed for Rin-tin-tin.
the address
of stars
pasted on the envelopes,
and with the address Hol-
lywood, California. These
of course are quickly dis-
tributed by the Hollywood
mail clerks. But just
the address "God knows
where" doesn't tell much.
Xot a week goes by
without letters arriving
for "The It Girl," or, in
some cases, simply ad-
dressed to "It, Holly-
wood, California." These
promptly go to the Para-
mount studio for Clara
Bow. Letters addressed
to "Mr. Bcn-Hur" are
dispatched to Culver City,
and delivered to Ramon Xovarro. Likewise communi-
cations for "The Man of a Thousand Faces" become the
property of Lon Chaney. Often letters intended for
this actor bear only his picture clipped from a news-
paper. Even though they show him in one of his char-
acterizations, the identity of the addressee is unmis-
takable.
Joan Crawford has a nice little "I thank you!" wait-
ing for the postal clerk who dispatched to her a com-
munication addressed merely "The best dancer in Hol-
lywood." I le probably had seen Joan, in "Our Dancing
Daughters/'
William Boyd receives
Cop," because he starred
Corinne Griffith is now receiving communication
dressed to "The Divine Lady," and David Lei
many directed solely to Sonny Boy. Davev isn't old
enough yet to read his mail, but he helps open some of
the envelopes as his mother peruses them. I v
his home the other evening, during one of the fan-mail
hours, and Davev was assiduously applying himself to
his task. He slit a little, pink envelope and took out a
letter on which was pasted a picture of a rabbit.
"Read it!" I suggested. "What does it say?"
The little Sonny Hoy. holding the letter upside down,
Continued on page 116
letters addressed to "The
in a picture of that name.
84
Ladies of
They're creatures of beauty and gorgeousness, bringing
up bitter rivalry among
,-— ■ *"*"
4W
/
je^S*
^-
Jean Douglas, above, in "The
Dance of Life," wears a striking
creation of plumes and pearls.
*c
3f
^•CiRr ,p~
Irma Harris, above, in "The Hollywood Revue of 1929,"
carries her own pearly background with her.
Dorothy Rcvier, below, one of the principals in "The
Dance of Life."
%LJL
,y i
v
Ml
Prudence Sutton,
above, in "The
Dance of Life,"
displays a gorgeous
Spanish costume.
Ray Murray, left,
in the all-color se-
quence of the same
film, portrays a co-
lonial coquette.
Jyj
the E
nsem
u
to the movies the glamour of the "Follies" and stirring
the costume designers.
Outlined in pearls are the headdresses of Ivy Janis
and Alma Davcy, above, in "The Hollywood Revue
of 1929."
Thclma McKcal, be-
low, in the same film
symbolizes India, her
body painted with
glistening gold
make-up.
Betty Rossmorc,
above, in "The
Shopworn Ansel." > ,
Lita Chcvret, left,
exhibits a head-
dress inspired by
Tibet or China-
it doesn't matter
which.
86
Wkat Are the Talkies Saving?
c MZ/.&?
The chattering screen, on which the hero lisps and the heroine booms, is patiently tolerated by
spellbound fans who manage to see light ahead through a fog of home-made accents.
By Grace Kingsle^
Illustrated by Lui Trugo
TALKING pictures will be good when they really
say something, won't they? Now they're like
the trained elephant that can blow, a horn — it isn't
that he blows a horn well, but the wonder is that an
elephant can blow a horn at all.
So we hold our breath when John Gilbert says to
Ralph Forbes, "How are you, old chap?" And Ralph
answers, "Fine, old top, how's yourself?"
But they're coming on, they're coming on. We'll soon
have our Maughams of the movies, our Shaws of the
shivering photographs.
In the meantime, all our film idols are hollering down
the rain barrel. And how !
Oh, the big, strong hero who lisps! And the little,
delicate heroine, who booms !
"Oh, thweatheart, I thall thave you !" he cries when
her house is on fire. And she booms back, "I await you,
my hero !"
There is one remarkable thing I've noticed about talk-
ing pictures. Nobody in a talkie ever seems to be able
to move and to speak at the same time. Characters in
a talkie are like the Mississippi steamboat Abraham
Lincoln talked about, which couldn't both whistle and
go ahead at the same time.
So when the villain pursues the girl, she can't let out
a single yell until she has romped across the room.
And if there's a fire! Well, no matter how scared the
poor girl is, she can't scream until she gets a chance to
stand still near a window.
Why, even if a man's coat tails are on fire, he can't
yelp till he finds a microphone !
And then how the talkies do dash from one sort
of scene to another! Why, it's perfectly bewildering.
In the very midst of a
hectic love scene, for in-
stance, as you are holding
your breath waiting for
Mary to give John his an-
swer, lo, you are whisked
right off to watch Tom
kill Harry.
Aren't our lives hectic
enough these days, with-
out having our nerves
wracked by a sudden shift
like this? "Dearest, I've
braved perils in strange
lands ; but now I have
won a fortune. Will you
marry me, darling?"
"Ah, I don't know, John,
whether I love you well
enough "
Imagine what talkies would have done for the old-time
film dramas.
Wham! Zozvie!
"You blankety-blank so-and-so, I'm going to kill you
with my bare hands !"
And then straight to a comedy scene, where you're
expected to laugh !
But it could have been worse. Supposing, my dears,
we had had talkies in the old days !
We can't be too thankful, indeed, that the talkies didn't
come in during the war-picture era. What would have
become of us if we had had to listen to all those battle
scenes ?
But perhaps what we have most to be thankful for is,
that historical subjects are out just now. Wouldn't it
have been just too dreadful if we had had to hear our
heroes like Washington and Napoleon lisping ?
Imagine Julius Caesar saying, "I came, I thaw, I con-
quered !"
Could we ever have felt the same again toward our
own Lincoln if we had heard him say, in a picture, "Four
thcore and theven yearth ago our fatherth brought forth
on thith continent a new nathion "
Then, too, how they would have ruined some of our
old favorites for us, if they had put talk into them.
Imagine "Broken Blossoms," for instance. Wouldn't it
have been just too awful if we had had to listen to
Richard Barthelmess lisp pidgin-English to Lillian Gish?
And what delicate memory could we have carried away
of the ethereal Lillian, on the other hand, if her voice
had resounded apparently from a deep cellar?
All the wallop, too, would have been taken out of the
chase scene, and it would have been hard to be sorry for
Lillian, if the brutish Donald Crisp had cornered her in
the closet and then lisped at her as he swung his big fist,
thever your thilly
head! I'll thend your
thoul to Thaten !"
Methinks the dainty Lil-
lian wouldn't have had to
poke up the corners of her
mouth to get a laugh out
of that !
What kick, I ask you,
could you have got out of
"What Price Glory?" if,
instead of reading the lips
of the captain bawling out
his first lieutenant, you
had heard him lisp that
naughty name he called
him ? Or in "Way Down
East," to have heard the
hero say, "Watch out for
the ithe"?
What Are the Talkies Saving?
87
Think of the yelping there would have been in the
old serials ! "The Perils of Pauline" would have been
just twice ae bad, if you had had to listen to them as
well as to look at them.
And the baby shows, which used to form so large a
part of our news reels — fancy having had to listen to
that bunch !
That children should be seen and not heard never ap-
plied more aptly than to their appearance in pictures.
D. W. Griffith used to say that the charm about children
in pictures was that you didn't have to listen to their
little, piping voices.
But alas, all that is changed now. Talking pictures
are a free-for-all. Why, they even let baseball players
talk now. And as a silver-tongued orator, a baseball
player is usually just a good baseball player.
But at that, the talkies are taking the tang out of the
silent pictures. When you see a huge locomotive sneak-
ing into a scene without making a sound, you want to
scream ! And how uncanny to behold a lion opening
his mouth to roar, with no more sound coming out of
it than out of a democrat at a republican rally.
What a lot of fun we'd have, though, if some of those
old, silent pictures were suddenly to become vocal.
There'd be men faking playing the violin ; girls singing
off key when they were supposed to be prima donnas ;
men talking pig Latin for French ; and, in the outdoor
scenes, wind machines rattling in the midst of desert
storms.
But in these hot-and-hot days of the talking pictures,
what funny things happen, to be sure !
For instance, there are the animal acts. The animal's
owner has been telling him what to do, in days gone by.
Now the poor animal has got to learn the sign language !
When you saw the dog leap at the villain's throat, for
instance, his master was calling out to him all the time,
"Get him, Tige !" even if it did look as though the dog
was thinking of it himself.
And when you saw Rin-Tin-Tin holding his head on
one side, in that cute, intelligent way of his, and evidently
thinking up some way to save the heroine in the burning-
building, he wasn't doing that at all. Somebody was
holding out a dead cat for him to look at, and was hol-
lering at him, while probably the director was swearing
a blue streak off stage.
You didn't really think that Tom Mix's horse, Tony,
thought up all those smart things to do himself, did you?
No. Tom was close by, guiding him in all his ways.
But now the voices "pick up" in the microphone.
And speaking of voices, what a lot of home-made dia-
lects and accents we have to listen to !
Take Warner Baxter, in "In Old Ari-
zona," for instance. Of course Warner
is so fascinating that he could talk Hot-
tentot and nobody would have cared, but
the fact remains that Warner, as the
Spanish Cisco Kid, speaks a very good
brand of dago dialect.
The four-legged
Thespians are all
at sea learning the
studio sign lan-
guage.
Because the mike, you know, does love the deep voice,
but spurns the high one.
Why, the Other day, Little Billcc, the dwarf actor, was
playing a scene with a big, burly actor, and Little Billee
stole the scene, because his voice registered deeper than
the big boy's.
Even the actresses' voices sometimes register heavily.
Polly Moran says that she lias to go .around with a muf-
fler on her voice, it picks up so loudly, and they say
that the first time Clara Bow let out a whoop in a talking
picture, it blew out the fuses !
Nobody ever really knows how his own voice sounds,
until he hears it in a play-back.
"When 1 first heard my play-back," said Polly, the
other day, "1 thought I'd have to sue the doctor who
took out my tonsils !
"But there's one thing about a microphone," Polly
went on, "you can talk to it all day, and it won't talk
back."
Marie Dressier says that for the comedienne the
talkies are awful.
"The director yells 'Quiet ! Don't laugh ! Don't any-
body make a sound ! Still, now !' And then in the midst
of the deadly silence that ensues, 'Come on, .Miss Dres-
sier, come on and be funny!'
The hero's coat tails
may be on fire, but he
must find the mike be-
fore yelling.
Probably he picked this
up in all the years that
he spent with Leo Car-
rillo on the stage in
"Lombardi, Ltd."
And how everybody
m Hollywood nowadays
is speaking from away
down in his chest ! All
the tenors are going out
and having their tonsils
lifted, so they
can talk bari-
tone.
Then in the quiet of the
death chamber, as it were,
the poor comedienne has to
come on and be comical !"
Miss Dressier sighed.
then continued. "In the old
days of the silent pictures,
how we used to kid around !
How the orchestras used to
play while we were getting
the sets ready! How even
the grips and electricians
would wise-crack !"
Why, I don't know how Charlie Chap-
lin and Doug Fairbanks work now. They
used to kid until they got into the mood for
a funny scene, and then do it.
But what a lot of baby-faced heroines lost
their worshipers when they opened their mouths!
And how embarrassing it must be to some of our
handsome heroes when, having heard them sing in
the movies, somebody at a party requests them to
warble.
Then there's the play-hack room. What a lot is
heard there that never was intended to be.
One of our sweetest heroines was romantically lisping out
her love for the hero, the other day in the play-back room,
when suddenly, at the close of the scene, came the words,
"Who the devil got away with my cigarette ':" [Cont'd on pas:- 116]
88
Clara Bow, right, assisted Lyman Scott
when he opened a stand and, needless to
say, the new venture started off with a
boom.
Marceline Day, above, as a
farmerette, is serving the
baby chicks their midday
lunch, and can't resist fon-
dling them.
Mary Brian, below, nails
a crate of oranges for the
Valencia, California, show,
in which she took part.
Helping
Hands
The stars are always ready to do
stunts to help a worthy cause.
Automatically filled and sealed, the
milk in these bottles has the ap-
proval of Dorothy Sebastian, left.
Jean Arthur, below, was the official
starter in a pigeon race, a happy
arrangement for all concerned.
80
The? Watck
Their Step
The young couples in Hollywood face
almost the same money problems that
confront newlyweds everywhere.
By Ann Sylvester
A LOS ANGELES newspaper re-
cently published the story of a young
couple in court seeking a divorce,
after only six months of marriage.
"I'm tired of economizing and pinching
and doing without things," was the plaint
of the flapper bride. Whereupon her young
husband leaped to his feet. "I make as
much money as any young fellow of my
age, your honor," he thundered, "but she
got her ideas of living from the movie
people around here, and I can't keep up
with that stuff."
Funny, isn't it? Funny, and a little sad,
and a little silly. It is particularly funny,
if you know what I know about some of
the young married couples of the movies,
who are economizing and saving, just like
the bride who was tired of marriage be-
cause she couldn't live as she thought they
did. I wonder how she'd feel if she knew
that they are living much as she does.
She wouldn't believe it, of course. Why,
movie actors make hundreds and thousands and even mil-
lions of dollars ! They have mansions in Beverly Hills,
and yachts at the Yacht Club, and servants in their
kitchens, and motors in their garages. They don't have
to stint themselves a thing. At least that is the common
belief of a lot of Marys and Dots and Louises, who are
Jobyna Ralston and Richard Arlen started wisely in money matters
from the time of their engagement.
married to Toms and Dicks and Harrys. In a way,
they're right.
Hollywood has its wealthy and prosperous married
couples. There are the Schencks. and the Fairbankses,
and the John McCormicks. But even in Hollywood.
they are the exceptions rather than the rule. Young
love, lor the most part, has
just as much difficulty in
making both ends meet on a
movie salary, as it does on
a bookkeeper's. Compara-
tively speaking, they have to
stretch their money just as
far. There are so many
demands made on their
earnings that don't apply to
couples out of pictures. For
instance, press agents, pho-
tographs, charities, and rel-
atives. Not that other
couples don't have relative-,
but actors seem to have
more.
Take George Lewis and
his bride of a few months.
rge has been under con-
tract to Lnivcrsal for sev-
Priscilla Bonner Woolfan
waited four years for her
husband to save money for
the home of their dreams.
90
Tkey Watch Tkeir Step
Photo by Brown
George Lewis and his bride, Mary Lou Lohman, did some careful
planning before deciding they could afford marriage.
eral years, and he has been making a nice salary, up in
the hundreds every week, but George had to wait nearly
a year to wed, because he couldn't afford it sooner.
"I was pretty lucky in having a
girl who would wait a year for
me," smiled George. "When I first
met Mary Lou it was taking every
cent I earned to keep up the pay-
ments on a little house, and support
my mother and three brothers who
are still going to school. I didn't
see how I was able to think of mar-
riage, even after I met the girl I
loved. It didn't seem fair to ask
Mary Lou to live in a hall room
with me, and that is about all I
could have afforded on my salary,
after other expenses had been de-
ducted.
"Luckily, I got an increase in sal-
ary when my option was taken up,
and by careful planning we figured
we could afford marriage. But we
have to watch the dollar pretty
closely. We try to keep our bills
down by not buying heavily in one
month. That is, if we get a new
piece of furniture for the house, we
go without some luxury to make up
for it. Every time we go to a May-
fair party, it is because we have
made up our minds to let the cur-
tains for the guest room go until the
next month."
"Bert and I work pretty much on the
same plan," explained pretty Priscilla Bonner
Woolfan, one of our latest brides. "Do you
know what Bert calls our new house? 'Mort-
gage Manor' is his name for it, and he invites
people up to see our equity.
"This house has been a dream of ours ever
since we became engaged four years ago. We
decided that we wouldn't marry until we could
really make a home. It took Bert four years
to get started as a doctor and save enough to
give me this sweet place." I wonder how
many modern youths could test their love that
far. Four years is a long time to wait.
"While we were engaged," continued the
blond and dainty Priscilla, "we didn't try to
splurge and get around to all the expensive
night clubs and picture premieres. That grow-
ing bank account looked pretty good to us. If
people are really in love as we are, they don't
mind missing a few luxuries. Bert and I
would rather go to a picture together, than to
the Mayfair without each other.
"A couple of months before we were mar-
ried we started this house on what Bert had
saved. Of course, even now, it isn't completely
furnished the way we want it. Gee, it costs
money to get a house together," she laughed.
"If my mother hadn't made us some perfectly
gorgeous curtains for our living room and the
bedrooms, I'm sure we would have been saving
for them yet. But," she added, proudly, "ev-
erything we've got is good. We don't want to
put on a show by furnishing our place with
gaudy, cheap stuff. We'd rather take it piece
by piece, as we earn it.
"Our guest room is going to be perfectly
adorable, and it won't cost hardly anything.
Bert's very clever at designing, and the carpenter who
worked on the house made us a bed for just the cost of
the wood. We shall paint it ourselves. If people really
know how to manage, they
can get such effective things
for so little money. But the
trouble with most people is
that they zvant to spend a lot.
Especially the people in Hol-
lywood seem to like to be
overcharged for everything,
or they don't think they are
getting their money's worth."
Duane Thompson is a great
friend of Priscilla's, and she
thinks they were wonderfully
wise to wait until they were
on their feet before they at-
tempted matrimony. "But
Buddy and I will try to get
over the rough spots to-
gether," she explained. It
was just a week before her
marriage to Buddy Wattles,
and Duane and I had met at
one of the numerous pre-
nuptial showers which were
being given for her.
"We are faced with the
same financial problem that
meets almost every young
couple," the sweet-faced in-
genue explained, "and that
Continued on page 116
It makes no difference who has the money,
Ruth Roland said in announcing her engage-
ment to Ben Bard.
GOLDWYN-MAYER
PRODUCES THE
SENSATIONAL
SMASH HITS
OF THE SEASON
CECIL B. DeMILLE, director of a hundred hits, has
made in Dynamite what will be considered his
greatest screen achievement. A thrilling drama which
explodes the hypocrisy of the modern Babel called
Society. Dynamite digs through the outer veneer of
sham, pretense and glitter— and gets down to the
bed-rock of human emotions. Charles Bickford, Con-
rad Nagel and Kay Johnson give the best performance
of their careers. All-talking. Also silent version.
WHAT a cast! More stars than there are in heaven!
A glittering, gorgeous, spectacular revue — the
kind you would pay $6.60 for on Broadway. Marion
Davies, John Gilbert, Norma Shearer, William Haines,
Joan Crawford, Buster Keaton, Bessie Love, Charles
King, Conrad Nagel, Marie Dressier, Jack Benny, Gus
Edwards, Karl Dane, George K. Arthur, Stan Laurel,
Oliver Hardy, Cliff Edwards (Ukulele Ike,) Anita Page,
Polly Moran, Gwen Lee, Brox Sisters, Albertina Rasch
Ballad, Natacha Nattova &. Co., The Rounders, and a
chorus of 200. A remarkable all-singing, all-talking,
all-dancing picture. The hit picture with the song hitsl
HERE is the picture that Broadway went wild about
— Hallelujah, the greatest drama of its kind ever
produced. Directed by KING V1DOR, who made
The Big Parade — this stirring drama of the Southland
immortalizes the soul of the colored race. Daniel
Haynes, noted Negro singer, and Nina Mae McKinney,
a beauty discovered in the night clubs of Harlem, lead
an all-Negro cast in this remarkable production. One of
the classics of the screen that will never die. Don't miss it!
Hear Irving Berlin's "Waiting at the End of the Road.'
"The Only Gesture You
Can Make Is To Marry!"
Janet sighed without answering. She
gazed up into the eyes of her artist
lover. One man had offered her wealth,
another fame, and a third social position.
But in each case the offer carried a con-
dition which made it impossible for her
to accept it.
And this Leonard Quigg, with his
erratic, artistic temperament, was just
the type of man she had vowed she
would never marry! Yet she cared for
him probably more than any of the
others.
She hesitated and then
The next thing she knew Leonard
was kissing her, kissing her throat and
her closed eyes, and the crimson bowl that was her mouth.
"I love you, Janet," he was saying.
you are, how sweet — — "
"I love you. You don't know how sweet
The love game was too
But even after this, Janet wavered in her decision
fascinating, the offers she continued to receive were too tempting to be put aside
lightly for love of a musician.
Read the absorbing account of the love affairs of this fascinating modern young
woman in
The Loves of Janet
By THOMAS EDGELOW
This book is one of the famous Chelsea House New Copyrights — a line of
cloth-bound books — the equal in binding and make-up of many books selling at
$2.00. But the price is only
75 Cents a Volume
Go to your bookseller now and order your copy of "THE LOVES OF JANET,"
or, if he does not have it in stock, order direct from the publishers.
CHELSEA HOUSE, Publishers 79 Seventh Avenue, New York
91
Arckes and
Drapes
Richard Dix's home in Beverly Hills is a
fine example of the Spanish-Mexican type,
in which the movie caballero enjoys the pic-
turesque setting of the old order along with
the last word in modern conceits.
The Hying room of Richard's home carries out the
Spanish motif, with arched doorways and grilled
stairways, but an occasional easy-chair and deep
divan relieves the stiff formality and gives it a
cheerful atmosphere.
A vista of golden hills and semitropica!
gardening is framed by the arch over an
entrance to the Dix casa, which suggests
dreamy siestas as a happy escape from the
trials of talkie making'.
The home is long and low, quite a contrast
to the general trend of American home
building, and it tops a little hill.
A Spanish chest, which cone
radio, and Mr. Dix's favorite arm-
chair, arc the central pieces in this
corner of t'^e living room, which
is warmly embellished with hang-
ings of old Spanish design.
92
Continued from page 32
The late Charles Emmett Mack
was a prop hoy for D. W. Griffith.
He'd been working at that studio for
months before the famous director,
as if seeing him for the first time,
suddenly realized what a poignant
face his prop hoy had. Griffith gave
him the second lead in "America,"
the role of the heroine's brother
who was killed in the war.
That poignant face was an asset ;
Charles Mack was assigned one role
after another. Nearly always he
played the boy who was killed in the
war. And then the tragic final fade-
out of his career, when he really
was killed in an automobile accident.
Ironically enough, just as he had fin-
ished a film called "The First Auto."
Eddie Nugent is another whose
story runs from prop boy to featured
actor. It was Eddie's ingratiating
personality which made stars and di-
rectors notice him. There was al-
ways a quip on the tip of his tongue.
His wit and good looks made him so
Strange Roads to Stardom
popular that soon the general senti-
ment around the studio could be de-
scribed as "Give the little boy a big
hand up." And so opportunity came
to Eddie.
The country is full of Eddies, with
looks, personality, wit. But that
lucky chance hasn't come their way.
One sixteen-year-old Chicago boy
decided not long ago to create his
own lucky chance. His name was
John Loeb, and he thought he was
a comedian. But how was he going
to prove that he was right ? How get
inside the magic gates of a studio to
show his stuff?
He devised an ingenious scheme.
And one day the officials at the Hal
Roach studio were astonished when
the American Express Company de-
livered a long, wooden crate labeled
"Statuary."
"It doesn't belong here," they said,
refusing to accept it. "We didn't
order any statuary."
So the driver, a little puzzled, took
the mysterious crate to the company's
local office to await further instruc-
tions. To the astonishment of all
the clerks, the crate was suddenly
pushed open from the inside, and out
popped a sort of replica of Charlie
Chaplin. Big shoes, trick mustache,
baggy trousers, grease paint. Johnny
Loeb of Chicago, no less, would-be
comedian, who thought he was in-
side the Hal Roach studio, and was
all prepared to show astonished di-
rectors what he could do.
The sequel to this story is that the
police were called in ; the living statue
had violated some statute about mis-
representation. But the Roach stu-
dio executives, touched by his plight,
have agreed to give him a chance
when the police get through with him.
Just a screen-struck boy, attempt-
ing a quite new road to stardom. The
roads to stardom are many and
strange — but that is the strangest of
all!
Continued from page 53
have been reached on a revue type
of production. "When in doubt turn
the show into a revue" is the new-
watchword of the producer.
The Whiteman excursion has al-
ready cost the Universal company a
good $250,000, but they are into it
so heavily they might as well spend
a few hundred thousand more.
They have engaged John Murray
Anderson, of Greenwich Village
"Follies" fame, to stage the White-
man film. That, too, costs a pretty
penny.
"The King of Jazz" is still the title
of the picture.
Oh, Aileen, Aileen!
Alterations in the color of a star's
hair mean little or nothing, nowadays,
unless the changes become a regular
habit, but when Aileen Pringle, after
remaining a deep brunette for a life-
time, suddenly emerges as a blonde,
the movie world stands still. It
would be hard enough to reconcile
such a departure with Aileen in any
event. Still, she has done it — has
become a blonde with the hope of
furthering her career.
"My career seemed so ill-fated re-
cently, that I decided I would have
to do something really drastic."
Aileen told us. "So I have gone
Hollywood and become a blonde."
And believe us or not, Aileen is a
really beautiful blonde; her appear-
ance is most unusual and striking.
Mary Brian Bobs.
Mary Brian is another star who
has taken a revolutionary step as re-
Hollywood High Lights
gards her coiffure. She has bobbed
her hair. She had to do it to play in
"The Children," and it was an ordeal,
because she had beautiful hair of the
long variety that reached to her waist.
Mae Glamorous Again.
Mae Murray's return to pictures
may be duly celebrated, and she is
reviving one of her most popular
starring productions — "Peacock Al-
ley." Tiffany-Staid engaged her to
do a talking version of this, with sup-
porting players including George
Barraud and Jason Robards.
Needless to say, Mae will dance
and wear elaborate costumes. Her
speaking voice registers excellently,
because of her vaudeville and pic-
ture theater engagements.
Gallic Stars Thrive.
Maurice Chevalier's absence in
Europe has made many people ask
whether he will return. It depends
a good deal, we believe, on the suc-
cess of "The Love Parade." Chev-
alier has not been a big hit every-
where, though he won friends in
many places with his work in the very
poor "Innocents of Paris."
It is curious that the French are
exhibiting more adaptability to the
talkies than the Germans, who so
dominated the silent form. It is curi-
ous, but explainable by the fact that
the southern European has more of
an understanding of the lighter sort
of musical entertainment that is now
being proffered, than the more dra-
matic Teutons.
Lily Damita has prospered with
"The Cockeyed World," and just
lately Fifi Dorsay shows signs of be-
coming a sensation. She was so good
in "They Had to See Paris," star-
ring Will Rogers, that she was im-
mediately slated for a big role in a
production directed by Raoul Walsh.
And oh, what fascinating eyes this
little mamselle has. She sang with
a true Anna Held manner at a lunch-
eon given at the Fox movietone stu-
dio, and all the boys were throwing
their hats in the air.
Songbirds In Favor.
The welcome sign is out to the
operatic singers. In the beginning
it looked as if the films didn't care
anything about them, feeling that
they were too highbrow. But the
engagements of several have been
announced.
Jose Mojica, one of the tenors of
the Chicago Civic Opera Company,
is among the Fox contract players,
and Elsa Alsen, Wagnerian soprano,
is to take a part in "The Rogue's
Song," with Lawrence Tibbett. She
is a noted and beautiful singer, who
has spent the summer concertizing
on the Pacific Coast.
Tito Ruffo also gave out the word
from abroad that he expected to go
into the talkies. And Tibbett, al-
ready completing his first feature,
is to film another.
Her Joy Fateful.
Ronald Colman has lost his
mother. She died a few weeks ago
in Australia. The circumstances sur-
Continued on page 104
•j3
King Even? Ua$
Seven persons named King, some of whom you
know quite well, are active in movies to-day.
Emmett C. King, left, added effective touches to "The
Shopworn Angel," "Coquette," and othei recent pictures.
Dennis King, right, a New York stage star, will appear
in "The Vagabond King," in which he has a stagi
Claude King, left center, lias a striking face that will re-
call such pictures as "The Missing Man" and "The Mys-
terious Dr. Fu-Manchu."
The King family is represented in the
directing fic!d by Henry, right center, fa-
mous for his work in "Tol'ble David,"
"The White Sister," and "She Goes to
. War."
"Broadway Melody" drew the attention of
the fans to Charles King, above, although
he had long been known on the musical-
comedy stage.
Carlotta King,
right, who made
her screen de-
but in ' ' T h e
Desert Song,"
impressed pro-
ducer and fan
alike, so she
was given a
nice contract.
Judy King, left,
is now gracing
an occasional
Poverty Row
picture, but was
once under con-
tract to a large
producer.
94 . . Tkey
Continued Erom page 62 J
Ramon Novarro, who also made his
debut in that picture. Rex Ingram
gave out a number of interviews laud-
ing Alal's box-office attractiveness. He
has worked almost continuously since
then, but despite this no fan clubs
have been inspired in his honor.
Possibly he has too much money
to take his work seriously, but I think
more likely that he has suffered from
lack of publicity.
Warren Burke had the lead in
"Road House," supported by Lionel
Barrymore, and after that F. W.
Murnau kept him in constant associa-
tion for a time, trying to bring out
something inside the young actor.
Evidently he found the task hopeless,
for he did not cast Burke and the boy
is playing bits again.
Matty Kemp played the leading
juvenile role with Florence Vidor, in
"The Magnificent Flirt." Off the
screen Matty is a husky, good-looking-
young animal, but the camera picks up
an ethereal quality in his features not
apparent when you meet him face to
face, and gives him a suggestion of
prettiness he doesn't possess in real
life. There was talk of releasing him
from the picture, because he was bet-
ter looking than the girl playing op-
posite him, but he was eventually al-
lowed to finish his work.
The foregoing is apt to give the
Got Wkat The? Wanted, But-
imprcssion that Matty is pretty in a
feminine way. This is not so. He is
rugged, handsome, and masculine in
every sense of the word. He simply
photographs unfortunately. In addi-
tion to the Vidor pictures, he played
the lead opposite Sally Eilers, in
Mack Sennett's "The Good-by Kiss."
While Sally manages to keep her-
self balanced on the fence, Matty
tumbled off on the wrong side and
has not worked since. A few years
from now, when he is a little older
and his face shows more character, I
think there will be a distinct place
for him on the screen.
Sally Phipps got a contract from
Fox and featured leads in a number
of pictures, among them "Cradle
Snatchers," "The High-school Hero,"
and "The News Parade," all with
Nick Stuart, and "None But the
Brave," opposite Charles Morton.
She is one of the few real beauties in
Hollywood, but when her contract
expired the option was not taken up.
I could learn no reason for this at
the studio, executives explaining that
in cases of this sort they prefer to let
the player make his or her own an-
nouncement to save them embarrass-
ment. Friends of Sally volunteered
the information that she cannot take
direction, seeming absolutely unable
to grasp what the director wants.
Compare her position to-day with
that of Nick Stuart and Charles Mor-
ton, and you are bound to realize that
it takes more than a break to make a
star.
Nancy Drexel's position at present
is similar to that of Sally Eilers — she
is on the fence. She had a contract
with Fox, played the lead in "Prep
and Pep," with David Rollins and
Frank Albertson, and was featured
in "The Four Devils." She is a
charming girl, with an appeal quite
similar to that of Janet Gaynor, al-
though possibly without Janet's depth
of feeling, but her contract was not
renewed. Why ?
There are also the cases of Prince
Youcca Troubetzkoy, who played op-
posite Pola Negri, in "Flower of the
Night" ; Roland Drew, who appeared
with Dolores del Rio, in "Ramona"
and "Evangeline," and of whom
nothing has been heard since ; Shirley
O'Hara, who played opposite Adolphe
Menjou, in "A Gentleman of Paris,"
opposite Ramon Novarro, in "For-
bidden Hours," and then dropped
from sight, eventually returning to
her home in Texas.
All of which only goes to prove
that a break does not make a star,
nor is a star necessarily made by a
break.
Continued from page 12
The Screen's Gift to Life.
"What the Fans Think" in September
Picture Play contained a lot of brick-
bats for Buddy Rogers from persons who
consider him a ham and a sort of collar
ad. I may as well say right now that he
is my ideal, my supreme favorite, and it
makes me boil to read such unjust things
about him. Really, I can't understand
how any one can 'help but simply adore
him, with his clean-cut, good looks, his
unassuming manner, his nice, unaffected
smile, and his vital, boyish eagerness.
There isn't another star on the screen
who can portray clean, happy, carefree
youth as he can. He always gives a fine,
sincere performance, and his pictures,
though mostly all simple little affairs, are
always enjoyable. They lift one out of
humdrum, everyday life into a land of
happiness and youthful romance.
I always thought people went to the
movies to see happy pictures like this —
to be rested and cheered. But it seems
to be just the opposite. People, most of
them, want to cry, to see tragedy and sad-
ness. There isn't enough of it in real
life.
As for his voice, "E. V. W.," it is one
of the most perfect I have heard so far.
I'm not alone in this opinion, either. He
is easily understood. Was it necessary
for you to include in your letter that cut-
ting bit from the Baltimore Sun ' You
must remember that "Varsity" was one of
the first talking pictures, and wasn't there
something odd and crude about most of
the first talkies? Evelyn Rossmann.
577 Twenty-fifth Avenue,
Milwaukee, Wisconsin.
What tke Fans Think
Outpourings for Vilma.
Pittsburgh has been fortunate enough
to have seen Lupe Velez, Bobby Agnew,
the Duncan Sisters, Sammy Cohen, Do-
lores del Rio, and Vilma Banky. I saw
them all but Dolores. Lupe was peppery,
vibrant, and nice. Bobby Agnew was
adorable — Pittsburgh loved him. The
Duncan Sisters were nice and friendly.
Sammy Cohen was so funny that the peo-
ple nearly died laughing. Every one was
saying Dolores was really sweet. But the
best of all was Vilma Banky. She is a
thousand times more beautiful on the stage
than on the screen. We saw her on the
stage twice, then went round to the stage
door and she came out ! I had my head
in the back of the car, and she was sit-
ting right there. She was immaculate.
Her hair is the most beautiful I ever saw,
and her skin smooth and white. I could
have easily touched her, but I was afraid
I would break her apart. Pittsburgh was
wild about her. She looked at me once
when I couldn't control myself and said,
"Isn't she gorgeous !" She smiled sweetly
and winked.
The two stars I still wait for are Nils
Asther and Joan Crawford. Nils is, in
my opinion, the most handsome and prom-
ising young man on the screen. Accent
or no accent, I'd like to hear him speak.
Vilma Banky has an accent, and sfae has
appeared in a dialogue picture, so why
can't Nils?
Joan portrays a modern girl — not the
type we are, but a type we admire.
Rosemary Wurdack.
202 Bonvue Street,
Pittsburgh, Pennsylvania.
Has Clive Brook Changed?
What in the world has happened to
Clive Brook since the advent of talking
pictures? Why must this splendid actor,
whom we all liked so well in silent pic-
tures, act like a simpering fool in the talk-
ies? Recently I saw Mr. Brook in
"Charming Sinners," and I could hardly
believe that it was the same Clive Brook
of the old, silent pictures who was jump-
ing so kittenishly and grimacing so awk-
wardly every time he talked. And the
way he played up to the audience was
atrocious. Is it that the praises heaped
upon Mr. Brook about his "faultless Eng-
lish accent" have turned his head so that
now, whenever he appears on the screen,
he has that air which seems to say, "Learn
of me, you dumb Americans; I'm the only
one on the screen who can speak correct
English"? I've noticed the same change
in Ronald Colman's acting in the speak-
ing pictures — that superior attitude which
makes him look more like a professor
lecturing on the use of perfect English
than an actor creating a role.
And please allow me to ask two ques-
tions, one of the producers and one of
the fans, which have puzzled me for a
long time.
To the producers : Why have you been
so blind as to overlook Dorothy Gish for
talking pictures? She has had stage ex-
perience; she was a hit on Broadway last
season in "Young Love," and, as for the
screen, with the exception of Louise Fa-
zenda, there has never been a more de-
lightful comedienne than Dorothy. Be-
Continued on page 98
95
So Near, Yet So Far
But any Romeo worthy of a lady's favor should be willing to
scale a wall for a kiss.
J. Harold Murray and Lelia Kar-
nclly, below, in a scene from
".Married in Hollywood."
m
Norma Shearer and John Gil-
bert, above, are pleasing as
Romeo and Juliet, in "The
Hollywood Rcvuc."
Love in picturesque
settings draws Lea-
trice Joy, left, and
Nils Asther together
in "The Blue Dan-
ube," and a wall is
no obstacle to the
dashing gallant.
"Lisa, I love you,"
whispers John Gil-
bert, right, as Fedya,
in "Redemption," to
Eleanor Boardman,
whose charms can-
not be imprisoned
behind a high wall
when her lover ap-
proaches.
A balcony scene a la Ameri-
can, in which Hal Skelly and
Fay Wray, above, exchange
sweet nothings and banter in
"Behind the Make-up," while
the lady wonders whether to
rim up the steps or to en-
courage her boy friend by re-
maining.
90
Continued from page 67
The action shifts to Nicaragua,
where Panama, on discovering that
liliuor loves Lefty and not himself,
refuses to go to the rescue of his
rival s doomed plane, though he is
one of the greatest flyers. Of course
lie relents in the nick of time, spec-
tacular airplane flights follow, and he
conquers his jealousy in acknowledg-
ing the love of Lefty and Elinor.
The picture is ambitious in its
scope and much of it is impressive,
hut the two men, though theatrically
effective, are not exactly calculated to
qualify as one's favorite realists.
Life As It Isn't.
All the king's horses and all the
king's men, meaning the Metro-Gold-
wyn studio, haven't been able to in-
ject into "Our Modern Maidens" in-
gredients as strong as those which
made "Our Dancing Daughters" a
popular success. And, as if to delude
themselves, they call it a sequel, with-
out, apparently, looking up the mean-
ing of the word in the dictionary.
But the only relation the later film
bears to the earlier one is the pres-
ence of Joan Crawford and Anita
Page in the cast and the fact that
Miss Page again gives the outstand-
ing performance, though it includes
nothing so sensational as her plunge
down a flight of stairs. However,
the picture deals with young people
in the throes of sex, the backgrounds
are incredibly luxurious, there's much
dancing and petting — all without dia-
logue, a further handicap.
Miss Crawford, the star, is Billie,
daughter of B. Bickering Brown, a
motor magnate as rich as Croesus.
In love with Gil, she defers an-
nouncement of their engagement un-
til she can vamp Rod La Rocque, as
Glenn Abbott, a very youthful diplo-
mat, out of an emhassy post for the
still more youthful Gil. Thus Miss
Crawford, as a very modern maiden,
resorts to' an expedient as ancient as
a Sardou heroine.
In cajoling Glenn, she receives a
kiss which brings to the surface a
great show of Victorian prudery and
strengthens my distaste for this sort
of picture, because the "Modern
Maidens" aren't good sports. They
flaunt their independence, hut when a
man takes advantage of it they bridle
and shudder like old maid school-
marms.
Meanwhile Miss Page, as Ken-
tucky, an ingenue, pursues Gil until
she too is caught in what used to be
called an indiscretion and there's a
great lot of moping. Finally a big,
ostentatious wedding unites Miss
Crawford and Mr. Fairbanks, but
Miss Page is late in appearing as
maid of honor hecause she has been
visiting an ohstetrician ! After the
Tke Screen in ReViev?
ceremony Miss Crawford decides
nobly that she won't take Gil away
from Kentucky, so there's a lot of
hocus-pocus about being so modern
a bride that she prefers to honeymoon
alone. Suddenly she is seen in a for-
eign setting, whence Mr. La Rocque
comes from nowhere to offer her fur-
ther insults — and is joyfully wel-
comed. Just as the picture probably
will be by thoughtless young people
of all ages. Besides the players al-
ready mentioned, the cast comprises
Eddie Nugent, Josephine Dunn, and
Albert Gran.
There's Many a Slip.
Curiously "Womantrap" fails in
effectiveness, though it has much at
the outset to insure a successful pic-
ture. For one thing, such players as
Evelyn Brent, Chester Morris, and
Hal Skelly who, if you saw him in
"The Dance of Life," must rank with
your favorites. Yet even he is not
altogether at his best, nor is Miss
Brent, though Mr. Morris approaches
his performance in "Alibi." Their
combined efforts yield a fairly good
story of a detective who discovers
that the murderer he has come to
arrest is his own brother. Good sit-
uation though this is, it is approached
in such a confused manner that the
spectator doesn't quite "get" the in-
tent of the proceedings. For a time
mother love is dominant, then fra-
ternal devotion is uppermost, and
later the evils of the liquor traffic are
denounced. Even the role played by
Evelyn Brent, usually the most di-
rect of actresses, is a sort of half-
and-half mixture of heroine and vil-
lainess. To this day I can't recall
which was which, except that she
was awfully cutting in some of her
remarks. Leslie Fenton has a small
role, as usual, and — also — as usual is
outstanding.
A Smooth Farce.
If your familiarity with the movies
goes back eight years you will re-
member "The Hottentot," a farce
played by Douglas MacLean and
Madge Bellamy. And if you are in-
terested in still more biographical
data, perhaps it will mean something
to know that Willie Collier, step-
father of Buster, originated the role
of Sam Harrington in the stage ver-
sion. The third incarnation of the
piece is now on view by means of
the audible screen, and I believe it is
the best of all. Certainly the role of
the timid man who hates horses and
is forced by the girl he loves to ride
the fiery "Hottentot," has never been
played more adroitly than by Edward
Everett Horton. His knowledge of
the implications of the spoken word
holds a lesson for younger and less
experienced players. That is, those
who have time between trips to
Europe and week-ends at their beach
houses to take heed. Nor is Patsy
Ruth Miller far behind Mr. Horton
as the girl who loves horses and in-
sists that Sam is " the gentleman
jockey of her dreams.
The picture is tastefully produced,
with many clever touches of direction
and photography to drive home the
farcical intent, and Douglas Gerrard
is highly effective as a knowing but-
ler, while the late Gladys Brockwell
is sadly visible.
A Girl Detective.
"The Girl From Havana" is just
one of those things, but it contrives
to be lightly entertaining*. This is be-
cause it doesn't take itself too seri-
ously, though it is all about jewel
thieves and a girl detective who finds
herself falling in love with one of
them. Surely you recognize the for-
mula. However, much of the action
takes place on shipboard during a
voyage through the Panama Canal,
with authentic views of Havana as
well, and this feature of the enter-
tainment considerably enhances the
value of the film.
It begins with a rather novel jewel
robbery in a big shop, with Kenneth
Thomson and Natalie Moorhead as
swell crooks apparently in collusion
with Paul Page, as a clerk. The
three embark on the Havana-bound
steamer, with Warren Hymer, as a
roughneck thug who supplies comic
relief. Masquerading as a member
of a theatrical troupe, Lola Lane
joins the passengers for the purpose
of gaining the confidence of the
thieves. Of course she succeeds, for
apparently there never exists on the
screen a crook minus a strain of stu-
pidity. Suddenly it develops that
Paul Page isn't a confederate at all,
but a noble youth bent on avenging
the murder of his father. Talk about
dramatic construction ! However, as
most people don't give a hoot about
the niceties of plotting just so long
as movies open an avenue of escape
from realities, who am I to say that
"The Girl From Havana" doesn't
fulfill its mission ? But why the harsh,
unpleasant voices I cannot say. But
perhaps that doesn't matter, either.
Get the Hook.
Amateur talent has its fling in
"Why Leave Home?" a new version
of "Cradle Snatchers," with dialogue
and music. The result is innocuous
comedy from which the rowdy humor
of the original has been extracted.
Who can tell why? As the piece now
stands, it is a feeble story of three
college boys hired by as many middle-
Continued on page 98
"7
Old-block Chips
The like-father-like-son saying applies to this
group of Hollywoodites.
Taylor Holmes, below, musical-comedy star, recently visited his
son, Phillips R., who has picked the movies for his acting career.
Rudolph Schildkraut, above, and Joseph are the best of
friends.
J. C. Nugent, below, dean of the theatrical family of
that name, learns some movie tricks from his son, Elliott.
Pat Rooney, left,
and Pat III could
almost pass for a
twin-brother team,
they are so nearly
alike in size and
looks.
James Gleason,
left, and his
Russell, are one oi
the fathcr-and-son
traditions in movie-
land, for the fam-
ily has long been
known lo the fans.
Eddie Quillan,
right, and hi-
ther, Joseph Fran-
cis, appear together
in "Noisy X
bor-."
98
Continued from page 96
aged wives as their dancing partners
in the absence of their husbands, who
are coincidentally spending the eve-
ning with the chorus-girl sweethearts
of the boys. Basically this was the
plot of the stage farce, which reached
the screen intact in its silent version,
but apparently the introduction of
music must needs bring with it the
foolishness of a musical comedy
story. Neither boys nor wives are as
sharply characterized as before, the
consequence being that much of the
fun goes begging. The ringleader
of the matrons, first played on the
screen by Louise Fazenda, becomes,
in the hands of Dot Farley, nobody at
all ; and the Swedish boy, originated
by Arthur Lake, is played as a half-
wit by David Rollins. Richard Keene
and Nick Stuart are the others. The
three girls are played — no, I won't
say played — by Sue Carol, Dixie Lee,
and Jean Bary, whose light, hard
voices betray their limitations as
speaking actresses. And the other
two wives are Laura Hamilton and
Ilka Chase, who, as much as any one,
is responsible for the first word of
this review by a bored, resentful
critic.
Brother Against Brother.
Although "Side Street" has the
distinction of having those pleasant
actors, the Moore brothers, in the
The Screen in ReViev?
leading roles, the film must be cata-
logued as just another gangster pic-
ture, even though there are times
when it threatens to rise above the
average. Three brothers, played by
Tom, Matt, and Owen, are city phy-
sician, policeman, and master mind
of an underworld gang. Dennis
keeps his family in ignorance of his
movements and source of money,
and helps one of the brothers through
medical college. Finally his opera-
tions are drawn into his family's
street, and unknowingly the gangster
and the cop brother match their
wits. The cop lays a trap for the
unknown gang leader, and the latter,
sensing that he is trailed, lays a trap
for the officer.
The film has some fine human
touches, especially in the O'Farrell
home, but much of it is purely me-
chanical and fails to exploit the melo-
dramatic possibilities of the situation.
Owen gives an interesting perform-
ance as the boss gangster, and Matt
and Tom do well enough with their
roles. Others in the cast include
Kathryn Perry, Frank Sheridan,
Emma Dunn, and Arthur Housman.
Who Killed Mrs. Drake?
With all the murder-trial pictures
since films began to talk, you may
have the habit now and, like a police-
court fan, go tearing down to the
theater when a trial picture comes to
town. Then you will see "The Drake
Case" as a matter of course. Or you
may be a sentimental soul who
shrinks from courtroom drama, but
would like to see the last work of
Gladys Brockwell. In that case don't
hesitate to see her, for the story is
not strong enough to matter a great
deal, and it is the sort that you never
quite get worked up over. And Miss
Brockwell is good, playing with a re-
straint that makes many of her scenes
extremely effective.
The story is artificial, settings in
the Drake home resembling the over-
loaded rooms of the flicker-movie
period. At times exciting, much of
the picture is dull. It is one of those
stories about a mother and daughter
being reunited in a courtroom. The
mother, played by Miss Brockwell,
is on trial for murder, but is silent.
The redeeming feature of the plot is
that you will not guess who killed
Mrs. Drake until the director is good
and ready for you to spot the villain.
Forrest Stanley, as the prosecuting
attorney, leans over the witnesses,
grins into their faces and talks quite
dramatically. While he thunders out
the true story of the killing, it is
shown on the screen in a flashback.
Robert Frazer is much the best of a
rather large supporting cast.
Continued from page 94
sides, Dot's fans are still numbered by the
thousands !
To the fans : Are there still any of
you who write fan letters to the stars
since the edict went out that if you wanted
a picture of your favorite, he or she
would give you the privilege of buying it?
To me, the star who would sell his photo-
graph is in the same class as the circus
freak, and I treat him accordingly !
Harry M. Cohen.
2 Burnside Avenue,
Newport, Rhode Island.
A Fan Loses Faith.
Ever since I saw "Weary River," I
have my doubts about the talent of all
actors. I attended the opening of "Weary
River" in a large city. It ran for three
weeks to record crowds who were com-
ing to hear Dick Barthelmess sing. Every
one was enthralled with Dick's voice.
As you know, Dick did not sing. Last
week I was in the same city, and, for
comparison, saw "Drag." Were there any
record crowds? There zvcre not. The pic-
ture was lucky to stay in that city one
week. Why? Because the public is not
going to put up with Dick Barthelmess
going through a picture on somebody
else's shoulders. Bob Allen.
233 Huffman Street,
Waynesburg, Pennsylvania.
Are "Cold" Stars Liked?
Why are the stars that are refined and
beautiful always referred to as being up-
stage and cold? I refer to Florence
Vidor, Yilma Banky, Dolores del Rio, and
Virginia Valli. Thev are all beautiful
What tke Fans Think
and can really act, but just because they
don't caper around like so many of the
flappers, they are called cold and indif-
ferent. There are different types of ac-
tresses, and, for my part, I prefer refine-
ment and dignity.
Will some one please explain just how
Alice White gets by? She is not good
looking and cannot act at all. This will
cause quite a bit of comment, I am sure,
but I have never been able to see Greta
Garbo's acting ability or her beauty. Yet
anything she does is considered marvel-
ous.
I have had the pleasure of seeing many
stars in person lately. Vilma Banky is
the most beautiful woman I have ever
seen, and looks younger in person than on
the screen. Lily Damita is very charming,
and also looks much younger in person.
Baclanova is lovely and has a very charm-
ing voice. Leatrice Joy is very charming
and also has a lovely singing voice.
I think some contributors are very un-
kind. What has Dolores del Rio done to
receive such unkind criticism? The fans
always say such unkind things about her.
Her voice is very sweet and she can act,
too. Lupe Velez has a very beautiful
singing voice. And, fans, weren't you
thrilled to hear Ramon's voice? I thought
"The Pagan" wonderful.
I have one more complaint to make.
What have they done with little Renee
Adoree? She is a marvelous actress.
Won't some kind director give Renee a
break? Mildred F.
4913 Genevieve Avenue,
St. Louis, Missouri.
Kit Leyland Answered.
The silly letter of Kit Leyland amused
me. In a smug manner he tries to dis-
illusion us poor, misguided girls in re-
gard to the disappointing appearance of
our screen heroes in real life, saying, in
effect, that grease paint improves the fea-
tures of the actors ! Really, fans, I had
never thought of that before, hid you?
Stars' faces are actually improved by
good lighting and make-up! How do peo-
ple think of these things?
He gives what he fondly believes to
be a damaging description of Ramon No-
varro — "short, dark, and Mexican." Cer-
tainly; why not? Strangely enough, that
is just how I have always pictured Ramon
in my mind — a smallish young man with
black hair, dark eyes, and olive com-
plexion. Delightful ! I am a native of
fair-skinned England and detest blond
men. I admire the liquid eyes and olive
skin of the children of the sunny South.
I am so pleased to know that my mind
picture of Novarro is right. Thank you,
Mr. Leyland; I am deeply grateful.
For Mr. Leyland's benefit, I think I
can safely say that the popularity of
Ramon Novarro, which is considerable in
England, is not based solely on good
looks. Those, like myself, who have seen
all his films since "The Prisoner of
Zenda" realize his versatility — not suffi-
ciently exploited by his company — admire
him for his ability and personal charm,
and respect him for his sincerity.
The remarks on Valentino were rather
nauseous, I thought, and what purpose
Continued on page 100
99
Tasty Morsels
Of course these bites are good, for a
sandwich or a doughnut shared in this
manner may have romantic significance.
Dorothy Mackaill, below, gives Sidney Blackrru r a
bite of cake, and he knows how such things were
meant to be eaten.
Gordon Elliott, right, samples a bit of something
from the tea table of Vivien Oakland while working
together in "In the Headlines.''
Josephine Dunn, below, kindly offers Eddie Xugent
the first b : te from her ice-cream cone, but he seems
to doubt the genuineness of the offer, or- perhaps he's
reviving the old one about the bite being bigger than
the cone when he gets through.
A doughnut is real
cake under these cir-
cumstances, Jack
Oakie, above, be-
lieved when offered
one by Evelyn Brent,
n "Fast Company."
George Lewis,
low, receives his first
bite at dinner from
Mrs. Lewis, but
whether this is of-
fered as a regular
ritual for young
married couples to
start off a meal is
entirely speculative.
100 r . . . 1ft Stingy? No, Just — er— Careful
Continued irom page 18 °^ '
days gone by, was in dismissing' must saved soap most diligently, gathering
of the studio force when they went small pieces together to make wads
abroad. Evidence that most of those much larger.
who experienced this hardship did J'ola Negri afforded some amuse-
not mind it seriously, was that the ment when she was with Paramount,
majority returned to the Pickford- by generally spending her vacation
Fairbanks studio as soon as there elsewhere when Christmas was at
were signs of activity. hand. The routine of giving many
Cutting corners in a professional gifts, which was then more of a cus-
way is, on the whole, good business, torn than it is to-day, probably would
It goes on from time to time, when- have irked the temperamental Pola.
ever the spirit seems to move in some She was far from being a chary
places, and is not always fruitful of spender, however.
the greatest soundness and stability. An amusing anecdote is told of
Many people in pictures have taken Stepin Fetchit, pertaining to an ar-
the attitude of "get as much as you gument over money. It happened
can while you can," because their when he was on location in "Salute,"
jobs are so insecure. the naval picture. Stepin's father
Stars who are not spenders are well was handling his financial affairs,
represented among the character ac- and while in the process, Stepin's sis-
tors. For one thing, they are not ter desired to buy a dress for the
called upon to put on such a bold moderate sum of $18. Stepin's father
front as the others. The instinct to didn't feel that he could O. K. the
hoard is consequently more highly outlay while his son was away, so he
developed. Needless to say, Ernest decided to phone him at Annapolis.
Torrence is Scottish enough to be When Stepin reached home, the tele-
careful, although not too frugal, phone company confronted him with
while Wallace Beery's biggest indul- a bill for $92 toll in settling the argu-
gence seems to be his airplanes. Lon ment. And sister also got the dress.
Chaney would distribute his fortune What John Barrymorc does with
too liberally were he not closely oh- his presumably great income has al-
served at home. He is naturally gen- ways been mystifying. His one heavy
erous, but too heavy drains are not indulgence is in yachting. He has
made on his exchequer. never gone to extremes in living, and
Like other human beings, stars clothes have never become a mania
may save very liberally in small with him, as with most other matinee
things, comparing with the person idols. The presumption is that Bar-
who puts pieces of string away for rymore is banking or investing a
some indefinite future use, or the great deal of his fortune,
housewife who raises a rumpus if Al Jolson gives the world a laugh
salt, sugar, or butter is too freely dis- with one of his peculiarities. It be-
pensed, and then goes out and buys a longs to his stage rather than his
thousand-dollar Oriental rug as an movie career. He used to go into
investment. Tom Mix, with the gay the box office to sell tickets and count
extravagance of his career, is cited the money. For contrast, Al sup-
as an example. He is said to have ports various charities, but he never
will rest until he becomes a movie
producer. He regards a star's life
as a misery, financially, because so
much of the profits are distributed
elsewhere.
Charlie Chaplin has stood up nobly
under heavy assaults on the treasury
in two divorces cases, the last having
been especially depleting. In the
early days he was so careful with
money that he was cited as a classic,
example. The anecdote will never be
forgotten of how once he went as a
guest to Vernon Country Club, then
the popular rendezvous in the old
Keystone days, and was handed a
bill for fifty dollars for entertain-
ment, because nobody else had
"brought any money." The story
goes that Charlie wouldn't speak to
anybody on that party for weeks
thereafter. Well, there are plenty of
others who would have felt the same
way about it.
After all, the Hollywood spending
habit, carried to extremes, leads to no
end of grief for the spenders. The
smart movie stars don't throw their
money away as they used to. They
don't listen to every plaint of
"Gimme," but discriminate. The
saving habit is undoubtedly carried
to unnecessary lengths at times, and
is injudiciously exerted in a number
of others, but the larger spirit of the
movies is to be liberal. If the aban-
donment of • some of the foolish
swank that is still put on by certain
stars were to go by the way, things
would be much better. Too many
of them still spend too much money
on themselves at the expense of
others. But they are on the whole
good-hearted, and instances of tight-
ness are more amusing than other-
wise.
Continued from page 98
do they serve? Valentino is dead, and,
for Heaven's sake, let him rest!
Incidentally, I saw Valentino himself
on the one occasion he visited London, and
can give Mr. Leyland the lie. I thought
his appearance charming, and I was not
a particular admirer of his. I am saying
this because I like to be fair. Fie, Kit
Leyland ! Your attempt at disillusionment
has missed its mark. Dorothy Dawson.
IS Lexham Gardens,
Kensington, W., London, England.
Enter Rudy Vallee.
I am going to be a pioneer in this, my
first letter to "What the Fans Think,"
for what I am about to write concerns
some one who is, as, yet, perhaps un-
known to most film fans, yet a potential
film star. I refer to the one and only
Rudy Vallee.
'Twas strange how I first discovered
him, early last winter, broadcasting in
New York City. It happened that his
program followed one to which I had
been listening and, as fate would have it,
I didn't change the station. Presently I
What tke Fans Think
found myself repeating the procedure each
Saturday afternoon. His rhythm in-
trigued me, for his dance music isn't
dance music as enjoyed by the jazz mad.
It is music — dreamy, expressive, yearning
melody.
Then, one night, suddenly that inde-
scribable something — that charm irresist-
ible which I term a caress in his voice,
caught me in its spell, and I lost all power
of resistance and surrendered!
Many girls who have not been fortu-
nate enough to hear his radio programs
have a thrill in store when they hear him
in his first picture, if the reproduction
doesn't mar the softness of his voice. I
pray that RKO will not make his film as
harsh as was the lamentable "Syncopa-
tion." I don't want fans just making
his acquaintance to gain the wrong im-
pression of Rudy and condemn him, when
the fault lies with the apparatus. I'm
afraid his voice will be a most difficult
one to reproduce — for it is soft and low
— sweetly so, and if the producers make
it seem loud by means of increase in
volume, fans will not hear Rudy as I
know him and many other radio fans do.
That is a particular trait in Rudy. He
seems ever to be evading the spotlight.
He is also an accomplished saxophone
player, and if any one believes there isn't
beauty or music in one, they haven't heard
one played by Rudy Vallee, and I would
advise him to purchase one of ihis records
and listen very closely. Such rhythm, such
tones, such beauty !
I would add for the benefit of those
who will inquire about his name, that it
is Hubert Prior Vallee. The Vallee is
his own. Rudy was given him as a boy
because of his enthusiastic admiration of
his idol, Rudy Wiedoeft, the saxophone
king. He is very idealistic, shy, reserved,
and quiet — musician, composer, and, now.
a potential film star. I wish him a world
of success, and I'm sure the fans are
going to be proud of him and add him to
their list of favorites- — although he rather
stands alone. Mary E. Lauber.
119 West Wyoming Avenue,
Germantown, Philadelphia, Pennsyl-
vania.
Continued on page 107
Ill]
The Midnight Oil
Nowadays the players are burning lots of it learning
their lines, stopping now and then to sigh for the good,
old silent days.
Sally Starr, left, finds a perch
behind the set on the sound
stage and digs in, preparing to
speak her speech "trippingly
upon the tongue" as a new
screen discovery is expected
to do.
Robert Montgomery, right, re-
moves his coat and tackles his
lines right in the midst of a lot
of machinery, for the newly-
found concentration in Holly-
wood rises above inharmonious
atmosphere.
Ramon Novarro, below, may be
pictured by the fans as floating on
tropical seas warbling to bis lady
love, but there is another side to
it, for there is much prosaic work
behind every talkie scene.
One good reason why
Norma Shearer, above, is
riding the talkie crests is
that she snatches every op-
portunity to refresh her
memory before the cameras
start grinding.
Zita Johann, left, who hails
from the New York stage,
tries out the new type of
director's chair while get-
ting acquainted with sound
production, but the script
must be dragged along on
the inspection tour.
102
Information, Please
A department where questions are answered, advice is given,
and many interesting phases of motion-picture
inent side lights
icture
W M, ELKHART, INDIANA.— If
vv • Anita Page is your favorite ac-
tress, you've got lots of company ! Anita
has certainly gone over big for the two
years she's been on the screen. Anita
was born August 4, 1910, and is not mar-
ried. Nor even engaged. Her newest film
is "Navy Blue," opposite Bill Haines. As
to whether you would see her if you went
to California — that depends on whether
she happens to go out on the street the
same time you do, and the same street.
Joan Crawford's new film is "Untamed."
Dorothy Pierce axd Louise Melton.—
"iou're all wrong, calling me Solomon.
How could I support a thousand wives on
my salary? We don't announce fan clubs,
but if any one asks about David Rollins
or Don Terry, I'll refer them to you.
Mary Ann Bailets.— You're verv flat-
tering! If anybody would know, I would?
Well, as it happens, I do. Pola Negri's
present address is Chateau Rucil Serain-
court, Par Moulan, Seine et Oise, France.
Wondering.— You sound like a theme
song. Clara Bow was born July 29, 1905.
I think M.-G.-M. takes care of sending out
Greta Garbo's photographs. A fan club
is merely a group of a star's admirers who
correspond. Any one can join bv writing
to the person in charge.
P. D. — Don't tell me the police depart-
ment has found me out at last! See
above. Ramon Novarro was born Feb-
ruary 6, 1899, and has never been married.
Yes, Dorothy Jam's was the heroine in
"The Pagan."
V. Lucille Lewis.— Clara Bow and her
hair are quite a problem to an answer man.
It's been every color, hut she tells me it
was reddish to begin with. See Wonder-
ing. Clara is five feet three and a half
and weighs one hundred and fifteen
pounds. As to whether her love life has
ever been printed— probably, but not in
Picture Play, and I have no files of other
fan magazines. Sue Carol's real name is
Evelyn Lederer; she was born October 30,
1908.
Bruce Stevens.— Poor Gladys Brock-
well— killed just as she was staging a film
comeback. Her last films were "The
Home Towners," "Woman Disputed," and
"From Headquarters." In seven years
Pauline Garon has made too many pictures
to list them all here. Her newer films
are "Must We Marry?" "The Gamblers,"
and "Headlines." Alma Rubens doesn't
give her age; her first important film was
"Humoresque." Other early pictures were
"Find the Woman," "Valley of Silent
Men," "The Rejected Woman." No, I
have never heard of Kenneth Duncan, but
extras' names are seldom heard of.
Harry S. Given-. — If you wish to get
in touch with the Kenneth Harlan Fan
Club, write Mrs. Ethel S. Cottingham,
2228 North Emerson Avenue, Minneapolis,
Minnesota.
A Don Alvarado Fan. — You'd never
guess what has happened to little curly-
headed Richard Headrick, former screen
child. He's now a child evangelist ! I
suppose Pat Moore is busily going to
school. Apparently Sonia Karlov never
got anywhere; she was signed 'by DeMille
and then DeMille's company broke up".
Eugene O'Brien plays in vaudeville, that
haven of retired stars. Yes, Louise
Brooks has left the American screen —
some sort of studio politics — and is now
making pictures in Germany. I'm sorry,
but I don't even know the maiden name
of Airs. Don Alvarado.
Charlie M. — I didn't see "The Legion
of the Condemned," but as nearly as I can
tell from the synopsis, it was Lane Chan-
dler who played the young New Yorker
who joined because he was tired of life —
Charles Holabird. Lane is from Montana
and was passenger agent for Yellowstone
Park Transportation Company before go-
ing on the screen as extra in "Dorothy
Vernon of Haddon Hall." He recently
played with Greta Garbo, in "Single
Standard." At last accounts, Menjou was
going to produce his own pictures on his
return from Europe. Anita Page was
born in Flushing, Long Island ; see W. M.,
Elkhart, Indiana.
Miss Dorian E. Precourte. — I'll record
your Lane Chandler club for future refer-
ence.
B. C. S. — This voice doubling in pic-
tures quite baffles me. Occasionally it
leaks out who sang the star's songs ; oth-
erwise it is impossible to find out, because
the film companies pretend the stars do
it themselves. I imagine Betty Compson
sang her own songs in "Hit of the Show,"
as she is quite musical. I haven't the least
idea whether Sally O'Neil sang hers or
not, or Sue Carol, in "Fox Movietone Fol-
lies." As to married actresses born in
Canada — there's Norma Shearer, Mary
Pickford, Barbara Kent, Claire Adams;
actresses whose husbands are actors in-
clude Jobyna Ralston, Vilma Banky, Mary
Pickford. Dolores Costello, Joan Craw-
ford, Barbara Bennett, Alma Rubens,
Ruth Chatterton, Ina Claire, Doris Ken-
yon, Helen Lynch — quite a list.
J. Lubansky. — Virginia Valli was the
heroine in "East Side, West Side."
Erlene of South Dakota. — You seem
all preoccupied with marital matters. Rex
Lease and Charlotte Merriam were di-
vorced last April. Mrs. Give Brook was
formerly Mildred Evelyn. I know only
that Neil Hamilton's wife's name is Elsa,
and I don't know the name of Mrs. John
Mack Brown. The hero in "Bred in Old
Kentucky" was Jerry Miley. The lead-
ing lady in "Say It Again" was Alyce
Mills, and in "The Man Who Came
Back," Dorothy Mackaill.
Miss Edna Tow'ell and George H.
Smith. — Thank you very much for send-
ing me the address of British International,
which I will keep on record hereafter.
Aase E. Bay. — The screen version of
"Ann's An Idiot" was called "Dangerous
Innocence." Laura La Plante and Eu-
gene O'Brien played the leads; Hedda
Hopper and Jean Hersholt were also in it.
And I wish to thank the five fans who
wrote in with this information.
Lonesome. — See above. Tony, in "Feet
of Clay," was played by Ricardo Corn z.
No, Corinne Griffith did not really sing
in "The Divine Lady." Doris Kenyon was
born September 5, 1897; John Mack
Brown, September 4, 1904, Evelyn Brent in
1899 — no month given ; Vera Reynolds,
November 25, 1907. I'm afraid Vera
Reynolds has not been interviewed re-
cently enough in Picture Play for the
issue to be available. Eugenia Gilbert
seems to have left the screen, and I don't
know how she can be reached unless just
Hollywood.
Continued on page 120
L03
Suntanned CKeeks
Wearing the simple beret for motoring and sport should
encourage Old Sol's kisses, anyway.
A tan beret to
match her coat
and furs is the
choice of Mary
Duncan, above.
Barbara Kent,
left, who hails
from the wide,
open spaces, is
still fond of
outdoor life.
Helen Twelve -
trees, right,
prefers a blue
tain.
The white beret of
Dixie Lee. above.
cannot cope with her
unruly locks, but the
effect is rather cute,
eh, what?
ice Blinn, left,
also wears the white
beret with equally
crood effect.
The sport costumes
of Olive Borden,
right, are topped In
a white tam. perhaps
one of the reasons
why Hollywood is
golf mad.
Style and
practicality
arc combined
by Joan
("raw ford,
right, in her
104
Continued from page 74
Renee, from her place in the ring,
saw this and, with a scream of hor-
ror and fury, was at the Turk's side
in a moment. Snatching his whip
with the wicked steel thong on the
end of it, and wielding it with both
muscular, little arms, she lashed out
at her master in a frenzy. Beating
him until he cowered in a corner, and
then jumping on him with both feet,
she was finally dragged away, a small
virago, sobbing, between epithets, for
Iter poor, mutilated horse.
Back in her father's circus, the out-
break of war did considerable dam-
age to their business. In order to
keep the little troupe in food, Renee
and her sister got work in a factory,
wrapping bouillon cubes. Their
earnings were about fifteen cents a
day, with a penny extra for every
additional thousand cubes they
wrapped. Renee, unaccustomed to
the close atmosphere, had fainting
spells, and her sister worked with
frantic speed to cover Renee's lapses.
When the circus was playing a not
very profitable engagement in Bel-
gium, on the outskirts of Brussels,
the German invasion came. Saving
nothing but the clothes they wore, the
family joined the other refugees in
flight to a boat for England. On
board there was a search for a
woman spy. Renee was stripped and
the skin taken off her back with al-
cohol, in the belief that there was a
message on it in invisible ink. The
spy was found elsewhere, and the
bewildered Renee, her back stinging
and raw, was allowed to proceed to
England.
In London the first stirrings of
conscious ambition began to trouble
her. She slept in a real bed — and
suddenly realized that the narrow
bunks in caravans' had been uncom-
fortable. She had glimpses of the
London theaters, and realized that
the carefree, wandering existence of
her father's circus was not the only
possibility life offered.
Renee — As She Is
Jobs as a dancer in London shows
— an offer from ..Australia — running
away from London — packed aboard
a transport bound for Halifax — land-
ing in New York because of the fa-
mous Halifax disaster — detained in
the immigration offices — shipped to
Canada under guard — sharing a seat
in a tourist train with a muttering
Chinaman — arriving in Vancouver
ten days before the Australian boat
was to sail, with just enough money
to buy one meal a day — sleeping in
the draughty station at night. Only
fifteen years of age, yet she wasn't
frightened and, being magnificently
healthy, survived without so much
as a cold, although it was the middle
of a bitter winter.
After a few months in Sydney, she
returned to New York and worked
there for some time, dancing and
singing. Spotted by Louis B. Mayer,
she was signed for pictures and has
been a Hollywood luminary ever
since.
Mclisandc, in "The Big Parade,"
is still the finest work she has done.
Some day some wise person may be
inspired to cast her in John Mase-
field's "Tragedy of Nan," and then
her Mclisandc would be topped. But
things will not occur through any
coercion on Renee's part. She has
not the gift of salesmanship. Around
the studio she is "The Frog," adored
by the help, depended upon by the
officials to jump in anywhere and
save a picture from failure.
She lives in a shabby, rambling
bungalow on an unfrequented coun-
try road near the sea, having moved
there from a stucco mansion which
she bought impulsively and loathed
for its blatant newness. She loves
old houses, old furniture. Her pres-
ent home is small and sunny, unpre-
tentiously comfortable, the house sur-
rounded by an acre of ground on
which grow avocados, berries, grapes,
fruit trees, vegetables, flowers — all
planted in charming confusion. Her
menage is polyglot, a German cook,
Indian maid, Polish chauffeur, Chi-
nese chow dogs, Persian cats. An
aviary, forever being populated anew
by prolific canaries, is one of her
dearest possessions. A canny Irish
lawyer looks after her finances and
allows her only a moderate income,
knowing her airy prodigality with
money.
Like most families who have faced
adversity together, the Adorees are
passionately devoted. On Renee's
dressing table is a picture of her
mother — a beautiful, delicately fea-
tured woman. Renee writes to her
regularly, and has always provided
for her comfort.
No laughter, when she is in high
spirits, is more infectious than Re-
nee's. She is ingratiating, gamin.
Her humor is broad and she loves
practical jokes. She seldom smiles,
without laughing outright. A group
calling themselves, for no special rea-
son, the "unholy four," is composed
of Renee, Ramon Novarro, Ronald
Colman, and Charles Lane. Their
diabolic function is to attend neigh-
borhood movies together, explore lit-
tle-known parts of Los Angeles, or
just to sit and talk. With these co-
horts, Renee, whose physical mag-
netism rates high, has the status of
a boy, a good, little sport, a regular.
Although unhappiness has dogged
her personal life, it has left no taint
of bitterness — only a pervading wist-
fulness of which she is unconscious.
Elemental in the honesty of her emo-
tions, in her enthusiasm for life and
her eager love of people, loyal and
kind, devoid of malice, there is some-
thing gallant about her. And some-
thing a trifle pathetic, because of her
consequent defenseless exposure to
the political intrigue of Hollywood.
She ought to be a star, but it is
doubtful if she ever will be. Skilled
purveyors of personality get electric
lights before Renee, who has plenty,
hut doesn't throw it around.
Continued from page 92
rounding her passing were curious,
according to all reports. She was at
a picture theater, viewing "Bulldog
Drummond," her son's first talkie.
She had not heard his voice for
eight years, and the excitement of
seeing him and actually listening to
him speak proved too much for her,
as she was very advanced in years.
She collapsed during the showing and
died a few days afterward, but word
came that she was happy during her
last days, because the voice of her
son had been audible to her once
aeain.
Hollywood Higk Ligkts
Blond Stars Reglimpsed.
Miss Dupont and Lillian Rich !
Two players popular several years
ago reappeared on Hollywood's hori-
zon recently. Miss Dupont is re-
membered as the heroine of Erich
von Stroheim's "Foolish Wives," and
Miss Rich as a Cecil DeMille star.
Miss Dupont, since her marriage, has
definitely retired from the screen.
She came to the Coast only on a visit.
Miss Rich returned with the ex-
pressed hope of returning to pictures
in California. She has been in Eng-
land for the past few years, working
in the studios there.
Rogers as Yankee.
Will Rogers is very desirous of
remaking "A Connecticut Yankee In
King Arthur's Court," a big hit of
eight or nine years ago. Rogers
would play the Yankee. Several long
debates have been held on the sub-
ject at the Fox studio, and it looks
as if the Rogers gift of speechmaking
were winning against arguments
against the idea. Opposition at first
was pronounced, because it was felt
Advertising Se<
105
that Will was too mature for the im-
personation.
Rogers is to make four pictures,
and every one feels that with the ad-
vantage of using his voice he will
carve a niche for himself in the mov-
ies. So far he has only made a par-
tial hit.
Loretta Young to Wed.
Only sixteen, but deeply in love.
So may the present state of Loretta
Young he described. And she has
yielded to the persuasions of one of
the film colony's heart-breakers — ■
none other than Grant Withers.
They are to be married very soon.
Loretta began her screen career at
fourteen years of age, and apparently
is destined for popularity, especially
in the talkies. For a mere youngster
she has a voice of remarkable depth
and dramatic power. She showed
this marked talent in "Fast Life." in
which she is featured with Chester
Morris and Douglas Fairbanks, Jr.
Some critics were unkind to her, he-
cause they said she was poll-parroty,
but she impressed us very favorably,
considering her youth.
So many people are assuming these
days that only the stage actors can
satisfy with their voices, that they
are reluctant to give the screen group
credit even for valiant efforts. It
has been proven that the majority of
the fans would much rather hear
their picture favorites speak.
LINES TO GRETA
You are a lovely dream.
Like the reflection of
A white rose in a silver vase.
Your hair, the shadows
That the moonbeams trace
Across the starlit skies.
And in your eyes, the shade
Of butterflies' blue wings,
While deep within the echo
Of your velvet voice
The robin ever sings.
Jean Douglas.
ROSE IN THE BUD
I met my love in Hollywood
Beside the "sea" ;
She was a Sennett bathing girl —
The queen for me !
"How soon shall we be married,
dear ?"
Said I to Rose.
"Sir," she said, "you couldn't even
Buy my clothes !"
I took one look at her and,
Though I like her,
1 wouldn't want a wife who thought
Me such a piker!
Edith Pierce Jones.
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The Stepchildren Make Whoopee
Continued from page 70
"Sure, he uses that much for four
people," added Paul Ellis.
"Remember the time you put too
much garlic in the spaghetti ?" con-
tinued Ramon. "We went to work
and they had to close the studio."
"Every time we walked through a
room every one got up and left,"
said Marcel.
"My God !" exclaimed Barry.
"You ought to have been in quar-
antine."
"Did you ever sit in the upper
gallery at the Metropolitan Opera?"
asked Paul.
"Yes!" said Barry, enthusiastically.
"The people up there go to hear the
opera, not see it. They all eat garlic,
and every time any one opens his
mouth to talk everybody ducks.
"Americans do not appreciate
opera," said Barry. "They go, but
not to hear the music. They go be-
cause it is fashionable. Down in the
Argentine everybody likes opera.
The poorest laborer will save enough
to buy a cheap seat. In New York
the real music lovers are the foreign-
ers who sit in the gallery."
"Americans don't appreciate art in
any form," said Ramon.
"That's a strange thing," said
Barry. "I like America — I am going
to take out naturalization papers —
but that is one thing I cannot un-
derstand. The people here do not
appreciate art. They have art, and
nothing better can be found in the
world. The Ziegfeld 'Follies' — why,
there is nothing better anywhere
than that. The best in Buenos Aires,
Vienna, London, Paris — even the
'Folies Bergere' — cannot equal the
Ziegfeld 'Follies.' America has the
art, because she has the money — even
if the people don't appreciate it."
If frankness is a virtue, then these
foreigners are well supplied with that
quality. And as for vices, their most
conspicuous one is a marked ten-
dency to play strange card and guess-
ing games. Because of their vivid
imaginations and unusual cleverness,
they are very easily entertained. It
is the people lacking in these qualities
who require hectic and expensive
amusement. Many an evening I have
seen them sit around a table for
hours devising various games played
with cards, or with paper and pen-
cil, and have a hilariously good time.
At every crisis, or near crisis, every
one jumps to his feet and pande-
monium reigns. All this enthusiasm
is produced by their own rich and
electric personalities, and without the
aid of a drop of liquor. One can
only wonder what would happen if
the customary drinks were served.
Believe it or not, a popular di-
version with this crowd is cooking,
and an even more popular one is
eating. The only one who shrinks
from domestic duties is Barry. It
is easier to perform the task oneself
than to attempt to get that boy into
action. Moreover, he doesn't under-
stand American cooperation. One
evening we had all gathered at the
home of Marcel and were attempting
to get dinner. Into the kitchen came
a ladylike journalist wearing a baf-
fled expression.
"I can't set the table until Barry
gets off it," she announced.
"Ask him to sit on a chair," I
suggested.
"He isn't sitting, he's standing,"
said she, sadly.
I could write about these charm-
ing and inventive people almost in-
definitely, but I won't. Enough is
enough. Drop in to see me some day
and I will tell you about the time
Barry rode his horse into the house,
and about that beautiful afternoon
when we organized a baseball team
and played on the public highway.
ON SECOND THOUGHT
I go every week to the movies to see
A star who has made such a great hit with me.
And I sit there just thinking how happy I'd be
If I could but know her quite well.
I'd see for myself if she's blond or brunet,
She would smile for me — oh, the cute little pet,
And somehow I'd manage to kiss her, you bet,
If I could but know her quite well.
But stop ! It may be that her temper is hot,
And her curls may be false, just as likely as not,
And then there's the chance that she'd cost me a lot !
Who knows — it may be just as well !
T. M. Arbuthnot.
Advertising Si < riON
Over the Teacups
Continued from page 29
say she wanted to go off and have a
good cry. But instead, she controlled
her feelings, and awarded the watch
to Helen Raften, of Brooklyn, who
resembled her to the extent that she
parted her dark hair in the middle,
and had two eyes, a mouth and a
nose.
"Victor McLaglen and Dolores del
Rio are just the vanguard of an army
of stars who are going to make per-
sonal-appearance tours. Charlie Far-
rell is to be the next, lie will go up
to Cape Cod to appear at the little
theater where he used to he usher,
ticket chopper, or whatever was
needed at the moment. His father
owns it.
"I'm all in favor of personal ap-
pearances, if the stars can sing or
dance, or do something more than say
a few kind words and take a bow.
I wish that Fox would send Sharon
Lynn East, with 'Sunnyside Up.'
There is a girl who can play and
sing, and she is so beautiful that she
would never be a disappointment
across the footlights. But imagine
what will happen if companies start
sending such frightened youngsters
as Loretta Young out on tour ! She
almost died of stage fright when she
had to appear at a Wampas ball, and
that was just among friends.
"Loretta is so grown up in her re-
cent pictures, it is startling. I wish
they wouldn't put her in pictures like
'Fast Life,' " Fanny complained.
"You'd relegate her to gingham
and gardens in the sunshine, I sup-
pose, and then where would she he?"
I asked.
"Well," Fanny commented, "Janet
Gaynor is getting along quite nicely'
in gingham, thank you."
I had never thought of that. But
given 1km- choice, 1 dare say Loretta I
would stick to the sophisticated, smart
pictures. Youngsters are like that, |
and Loretta will be a youngster for
three or four years more, by film
standards, even if she has recently
announced her engagement to Grant
Withers.
"I suppose you know" — already
Fanny had turned her attention to
something else — "that Pola Negri is
in this country. Not to make pic-
tures, though. She came over to dis-
pose of some property in California.
Then she is going back to London
to work. She said that she never
did her best work in Hollywood, that
there was too much standardization.
too much hurry, too many efficiency
experts interfering. She has finished
a picture over there.
"But will any one ever see the pic-
ture?" I asked merrily.
"The chances are good," Fanny ad-
mitted. "Warners have to buy a
couple of foreign-made films, accord-
ing to the quota agreement, and it is
practically set that they will take hers.
Then we'll see if Pola really shook
off the lethargy that settled over the
last work she did here."
But I wonder if even London will
be as enthusiastic over Pola as it was
over ( rloria !
What the Fans Think
Continued from page 100
Missing Quarters Jingle.
My letter in regard to missing quarters
has brought a number of answers from
all over the United Suites and one from
London, England. Every one of them
takes up the defense of Miss Daniels,
but, oh, how they love Miss Crawford —
with a brick.
What I gather from the answers to my
letter follows :
1. Secretaries are careless, because
they send photographs to people who do
not inclose quarters with their requests.
On the other hand, they neglect to send
a photograph to the ones who do inclose
quarters witli their letters.
2. If we arc to believe that the secre-
taries keep the quarters for themselves,
why do they send out photographs with-
out any money? The stars should look
into this matter. Fans who write letters
to their favorites, inclosing a quarter for
a photograph, are entitled to some consid-
eration. Let our favorites not forget that
these letters do not hurt their popularity,
but increase it.
3. The fans should bear in mind that
the stars arc not superhuman, by any
means. Therefore, we should nut lose
our heads over them and make ourselves
ridiculous by calling them "kings of
hearts" and such nonsense. It i^ silliness
of this sort that makes some stars go
goofey, call it high-hat if you like. After
all, most stars are nothing but high-sal-
aried entertainers. Some of them are
g 1. some of them are bad, according
to our understanding and conception of
their performances. Take, for instance,
Clara Bow. She is a type, according to
my estimation, a good-bad type. She may
he the loveliest woman on earth, hut I
detest her for the type she is, or, to be
correct, the type she plays on the screen.
I wouldn't give one smile of my girl for
all of Clara Bow, including her "It," red
hair, and exposed thiuhs. Am I losing
my admiration for beautiful women? Not
at all. It is just the matter of how we
look at things, and that is all there is
to it. S. Haigon.
Providence, Rhode Island.
Tut, Tut, Miss Perula!
One or two fans write regularly t i
Continued on page 109
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Tkrough Different Lenses
Continued from page 55
by a basket of flowers, perfectly at
ease, as pretty a mother picture as
one ever will see.
"Out of doors a gentle breeze was
blowing through the eucalyptus and
redwood trees. Neighbors came in
at times, informally, and were greeted
and welcomed as neighbors. In fact,
Mr. Hoover's sitting was interrupted
twice, but he showed no sign of irri-
tation or annoyance. His home ap-
peared as though it is always open to
those who live about him. It was
apparent that he and Mrs. Hoover
have that 'peace of God which
passeth all understanding.' There is
not, there could not be, a more beau-
tiful homelife than theirs among the
California redwoods.
"I do not believe that camera por-
traits can fully catch the personality
of President Hoover. He can be
done better in oils. His moods seem
almost impenetrable, and only long
study by some skilled painter can give
an adequate conception of the virility
and magnetism of the man he really
is. His outstanding characteristic, it
seems to me, is kindliness. A few
moments of conversation reveals his
strength. The shadow of a smile
lurking in his eyes indicates his sense
of humor. His whole demeanor im-
presses you with goodness and fair-
ness. He is the kind of man any
girl would want as a father — one who
would understand, sympathize, and
be a rock of strength and protection
when guidance was needed."
This was the impression made upon
Ruth Harriet Louise by the president
before he had been elected the head
of the nation. Eventually the photo-
graphs emerged, with the forthcom-
ing President of the United States
posed as a movie actor would be
posed. But no mascara was used on
his eyes. No grease paint filled up
wrinkles in his brow, nor obliterated
crows' feet from the sides of his eyes.
Under the deft management of Miss
Louise, he was caught in many
moods, and for the first time smiling
a perfectly natural smile.
She did not have to resort to the
almanac jokes — "Now watch the
birdie, Mr. Hoover. Smile sweetly,
please. Let me see your teeth — all
of them in the front row." She did
not have to remark : "Please don't look
as if the judge had just sentenced
you to sixty days at hard labor," in
order to bring forth that right-cheek
dimple. She simply got Mr. Hoover
to take his mind off the photograph-
ing business and be himself.
Ruth Harriet Louise began study-
ing photography in New York when
scarcely more than a child. She spe-
cialized in character studies and so
far succeeded that she attracted the
attention of Metro-Goldwyn. When
her ability was fully realized, she
was signed to a contract to make por-
traits of M.-G.-M. stars, and pos-
sibly she is the highest-paid woman
photographer in America. Her por-
traits long have adorned the pages of
Picture Play.
Now she has the distinction of be-
ing the only photographer to the
stars ever called upon to make por-
traits of a president, and Mr. Hoover
is the only president ever posed and
photographed as a movie star is
posed and photographed. And if you
want to see the difference between
pictures, look at those accompanying
this story.
Now this incident concerning the
president may prove to many that
stars are not as beautiful in real life
as they appear on the screen. Which,
in a great measure, is true.
Any number of actresses who
"photograph like a million" are, off
screen, just young women of average
beauty. A few can walk through
busy traffic, without occasioning a
second look. Greta Garbo can do
this. So can Lillian Gish, Vilma
Banky, Eleanor Boardman, Renee
Adoree, Pauline Frederick, Dorothy
Mackaill, Lois Wilson, and possibly
fifty others well known to screen
fame. The Garbo went into a thea-
ter in Los Angeles not long ago,
bought a ticket, walked down the
aisle to a seat and witnessed a show-
ing of her picture, "The Single
Standard," without being recognized
by a soul in the audience. She has
done this time and again with other
theater throngs.
All these actresses, however, pos-
sess that intangible something which
reveals them as lovely creatures on
the screen. But there are little extra
girls in Hollywood prettier by far
than most of the stars, but with noth-
ing else to recommend them as ac-
tresses. I know one who is exquisite,
yet is comparable to the fabled blonde
who lost her position in a five-and-
ten-cent store, "because she just
couldn't remember the prices."
President Hoover is an average-
looking American, with a good face,
a strong face, yet, unless photo-
graphed from certain angles, no pic-
ture can do him credit. But in the
hands of Ruth Harriet Louise, these
angles were divined, and the portraits
came from the finishing room evinc-
ing strength and attractiveness. He
is a nice-looking man, you will agree.
Advertising Se< i ion
109
Tkat Mystic Urge to Act
( < mtinued from page 72
"An actress in playing so many
different roles, causes her inner mind
to stir. It develops. That is why
creative artists, such as actors, writ-
ers, musicians, and scientists all pos-
sess a certain occult power.
"Through much introspection, an
actress becomes different from the
ordinary individual. She enables her
inner self to stir and prompt her.
There is a glamour around her —
what has been called the glamour of
the stage, hut which is really the un-
derlying i tower she has brought to
the surface."
1 hope 1 have not made Miss Ulric
sound like one of those would-be
mystics. There are no flowing robes,
no perfume, no incense in her sur-
roundings. She is a normal, bright,
and refreshing person.
Though having had practically no
education, she is very intelligent.
She never passed the fourth grade
in school, yet college graduates could
not he expected to know all she
knows. She speaks German and
French as well as English.
The usual hardships had to be
gone through he fore she gained her
first big success on the stage in "The
Bird of Paradise."' Later, under the
tutelage of David Belasco, she starred
in "Tiger Rose." "The Son-daugh-
ter," "Kiki," "Lulu Belle," and
" M una."
Pictures are not new to Miss I I-
ric. She made several about ten
years ago, but the stage had greater
claims on her. However, now that
voices are heard in pictures, I. enure
is in the fore.
I )o you ever take my ach ice ? Well,
I'm glad to hear it. for I want you
to see "Frozen Justice" when it plays
in your city, and "South Sea Rose."
Lenore Ulric possesses all the dy-
namic power of a great artist. Fox
has signed her, and she is to make
two pictures a year.
()!" all tlu' stage and screen celebri-
ties I have met. she is the first one I
know who has given acting much
thought, and tried to study the fun-
damental elements of her art.
The fact that 1 have failed to git
an ordinary interview, describing the
star and her life, is not so lamen-
table when one reads what I consider
better copy. And I promise you this:
accept this story of Lenore Ulric
and — with the editor's permission —
I'll see her again, after her first two
pictures are shown, and interview her
according to rule. In the meantime
you can think over what the Ulric
says, and learn why you have that
urire to act.
Wkat tke Fans Think
Continued from page 107
Picture Play in hot indignation, and
sometimes hysteria, against an unnamed
person, a press agent, who, by black magic
and other means, has so swayed a world
of perfectly sane beings that they have
gone crazy over a gentleman who in his
own right has no charm, artistry, or his-
trionic ability at all ; the gentleman in
question rejoicing under the name of Ra-
mon Novarro.
Is it really true? Have we hern wor-
shiping a false god, who, hi cause his
press agent has told us lie is good and
that we really should like him, makes us
swarm to places where his picture is
shown, write him thousands of letters a
week, swoon with rapture every time we
so much as hear his name mentioned?
Tut, tut, for shame !
Isn't it too lucky that we have such a
stalwart brave as loan Pcrula, who, never
having been dazzled by the glare of our
lodestar, so sweetly and courageously
comes forth and opens our eyes for us?
Think for a moment. We might posi-
tively have gone on being thrilled and
dominated by this Novarro, thinking it
was his handsomeness, his grace, his
charm, that enslaved us, not knowing that
it was his press agent all the time who
was weaving his spell about our hearts.
All I can say is that, to show our
boundless gratitude to Miss Pcrula for
rendering us this great service, we should
all present her with a silver-plated razz-
berry dish, and, as for those two wicked,
vile menaces to mankind — Xnvarro and
his agent — we should burn them at the
stake. G. Walters.
56 'Warren ( irove,
London, X., England.
More Talent for Doubling?
Imagine criticizing Richard Barthel-
mess ! I think thai he ought to he given
credit for fooling every one as he did in
"Weary River." In my opinion, it would
he harder to have a double than to do
the work one-elf. Mr. Barthelmess will
probably never be seen singing in the pic-
tures again. I hope not, for his own sake.
Those of us who love and enjoy Mr.
barthelmess' wonderful work in the pic-
tures will not cease to attend the theaters
where his pictures are shown.
\- for his "plea lor privacy," ha -n't a
hard-working actor a right to live his own
life a- he wishes to live h? Barthelmess
has an individuality all his own. He need
not guard his reputation among right-
minded people. Tlu' rest don't count.
"Only a Girl of Fin
R. F. 1). Xo. 1,
Branford, < ionnecticut
An English Fan's Luck.
I want to band PICTURE PLAY a large
|uet, a- tin- most interesting magazine
of the screen. I've u » 1 1 one question,
though — is Malcolm Hettinger out for
Continued on page 112
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110
Advertising Section
Tke Stroller
Continued from page 57
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post-office clerk, the bootlegger, and
the hot-dog-stand proprietor banded
together and put talkies in the local
theater to keep the citizens from go-
ing to the next town for their movies,
shopping and speakeasies.
Why must one listen to theme
songs at all hours, at all theaters, on
all radio programs?
That's a simple question to answer.
I wouldn't have asked it if I couldn't
answer it.
Take the example of RKO. It's
an electrical company. It's the Radio
Corporation of America. It's a mo-
tion-picture studio. It's a chain of
theaters. It's a radio broadcasting
outfit. And soon it will be a song
publisher as well.
When RKO gets a theme song in
one of its pictures you're going to
hear it, believe me, whether you like
it or not. If you go to the theater
they get your money. If you listen
to your radio, which might be their
make, you hear their songs. The
movie you see has their tunes. If
you weaken and buy a sheet of music
they declare a dividend. If you buy
a phonograph record they promptly
collect their royalty.
Paramount has refused to let any
of its songs be played before the pic-
ture in which they are used is re-
leased. And even then they make all
radio stations turn in a schedule of
when the songs were played, so the
public won't get fed up and can still
enjoy them in the theater. When the
picture begins to die out, they let the
song run wild and try to cash in on
music sales.
"This is all very bewildering," said
the Equity member as he meandered
through the labyrinth.
Ske Wears tke Badge of Courage
Continued from page 45
achievements and failures, all are
too emphasized, individually, for
balance. They are too greedy for
life. Wait, it will come to you, in
the guise best for you. Snatching,
grasping things means only trouble,
and losing them." Only much
thought and a gift for analysis could
have taught her this truth which, with
her disinclination to discuss personal
intimacies, she phrased impersonally.
"Go with the wind, once you have
felt its quality and eased into it.
See that little boat, with distended
sails? It glides so easily, with the
wind back of it. Energy spent in
fighting is wasted ; instead of buffet-
ing a gale, find your course and go
along slowly."
To a cultured mind books offer a
blessed solace. Adventure, history,
biography, fiction, everything. And
she reads, of course, in Swedish,
things whose primitive force, under
the fogged soberness of her native
land and the half-tones of its moods,
is mitigated with translation.
"But I had to slow up," she said.
"Eyes gave out."
If her head were amputated, she
would mention it in just that ordi-
nary tone. Enthusiasm is brisk for
loved interests, but anything that hap-
pens to herself is related in repor-
torial conciseness.
When her eyes permit, she sews.
Whenever I recall the first time I
saw her strong, large hands doing a
bit of fancy work, it strikes me anew
as an anomaly. Because of some
silly tradition, we associate needle-
work with clinging-vine femininity.
But no doubt the vikings' ladies had
to darn socks !
What now? Exquisitely embroi-
dered linens, for a betrothed friend,
frocks and pajama suits for herself,
a patchwork, velvet quilt. Those
tanned fingers ply the needle as ex-
pertly as, years ago, they held the
hoe which earned her passage to
America. At eleven, in Ystad, Swe-
den, her home, she hired herself out
to till and harvest an acre of beets
for the equivalent of eighty-five dol-
lars. Later, she came to America, a
confident Swede with pigtails like
braided flax, and worked her way, by
modeling for artists, to the movie stu-
dios. Probably, in those Ystad days
tucked into memory, she visioned
freedom from drudgery, only to find,
with success, that one form of toil
merely is replaced by another.
Indeed, she does not wish idle-
ness, after this long siege of it.
"Work ! It is all that I want now.
I shan't be choosy."
Many anecdotes attest Anna Q.'s
bravery, the tempered steel of her.
Once, to add realism to a forest-fire
scene, sixty trees were transplanted
to a location and soaked with gaso-
line. She had to run an engine
through. With the engineer crouch-
ing unseen at her feet, she opened the
throttle wide and roared the engine
into the flames. As they licked hair
Am ERTISING SECTION
111
and skin, she jabbed the man with
her foot and screamed, "Give her
gas!" Badly scorched, she was
rushed to the hospital. A frenzied
producer offered her, in magnanimity
bred by remorse, anything she
wanted. Through bandages she
eyed him coldly and said, "A line
time to say that — when I'm too
burned and nervous to think!"
As the sea churned its greenish
mountains, that wind-swept morn-
ing, I remembered her former rest-
lessness, the molten vitality that al-
ways undertoned every occupation,
and saw that it had crystalized into
a more definite course. To work, to
excel in the talkies, to win back the
place which she fears, unreasonably,
that absence has cost her, to accom-
plish something worthy of one's self-
respect, are her present desires.
Though still stubbornly, if not as
violently opinionated — and her as-
perity does not spare herself the lash
— a new manner both of peace and
tolerance folds her in. Once she
quickly rebuffed intimacy, now she
reservedly considers it ; the granite
has melted, with a greater under-
standing, into a mobile spirit. Her-
self more powerful and steadied, her
sympathy is more expansive.
Her mental iridescence is fully as
compelling. Brushing aside the petty
foibles which most women make mo-
mentous, she yet shapes her convic-
tions less hurriedly and impatiently.
Conventional ruts annoy her ; eti-
quette's petty claims are stupid. One
of such forceful character and such
electric magnetism, who has fought
her way, literally, from the fields of
untutored peasant labor to success
and associations of culture, has had
too wide and varied and elemental ex-
periences ever to become repressed
by the rubber stamp, or submerged
in unessentials.
A test revealed her oral gifts, the
fluency of her rich, full voice. Her
power to define vital characters
should be as splendid as ever. In-
deed, her agent has had more offers
for her during recent months than
during her busiest years. Despite the
theater's invasion, there is a scarcity
of women capable of playing mature
roles, and precious few who are al-
ready loved by the fans. In all likeli-
hood, we shall soon see her again on
the screen, more radiant than ever.
The sun was spreading red wings
over the western horizon when finally
I turned the gas filly's nose Holly-
woodward, reflecting upon that val-
uable possession, an indomitable
spirit.
Now, if this were a sob story, I
would wring one last tear ■
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112
Continued from page 34
thirty-five cents — which was more
than a lot of the troupe had. 1 had
played the show on an empty stom-
ach, but so had everybody else in the
cast.
"Another time 1 was stranded in
Atlanta, Georgia, which is somewhat
farther away. Each time I got fired
or the show busted, I learned some-
thing from my job and, if that had
kept up long enough, I might even
have learned to be a good actor. Say,
all this is damned uninteresting.
Let's talk about something else."
"Get on with your story. This —
er — rootbeer is nothing but foam.
Every time I look into my pail the
foam has evaporated and there's
nothing left. And, besides, you've
gotta talk more about yourself."
Mrs. Tryon came into the room
bearing good tidings in the form of
another gallon of rootbeer. Glenn
turned to her with a grin. "Gee,
dear, I'm just doing swell. He
thinks I'm not talking about me and,
honestly, I'm just bursting.
"Well, sir, I came out to California
from New Orleans — I think the show
had stranded there — to see my dear
parents and spend Christmas with
them. I still believed in Santa Claus,
and it seemed foolish not to let him
visit me at home. I had an engage-
ment in New York for a spring try-
out, but thought I might as well win-
ter in the land of eternal sunshine.
Bless my soul, the day after I got
here my father was called to another
city, and here was I, broken-hearted.
"I began taking my fun where I
found it. My companions, unlike
Buddy Rogers, had just not been
raised right, and presently I found
myself sojourning in Santa Ana jail
for ten days. I got out of there and
What a Gu>>! What a Guy!
found there was a tent show in town
looking for a juvenile for 'The Trail
of the Lonesome Pine.' That was
me. They couldn't understand how
I got up in the part so quickly. 1
had already played it three or four
times, [n fact, about the only part
in the show I hadn't played was
June, and I'd had my eye on her in
one production."
"The movies," I prompted him.
"Where and when did they come into
your life?"
"What a guy ! What a guy ! Well,
this June I was talking about lived
in a two-family house, and over her
or under her, I forget which, lived a
director from the Hal Roach studio.
He thought I ought to come out and
have a test made. 'Nix,' said I, 'I've
seen myself on the screen, and I don't
care particularly for that form of
nausea. However, with a discern-
ment I've never noticed in any one
else, he insisted, and I made the test.
There was talk of a contract, but
somehow they never quite got to the
point of signing. One day I grew
fretful and, as it was the nurse's day
off and there was no one around to
give me my bottle and quiet me, I
went down to the Western Union
office and sent wires to a lot of
friends. The next day, in answer to
these wires, I received a number of
very flattering offers — faked — from
Eastern producers and stock com-
panies.
"I strode into the Roach office and
said. 'Well, good-by, pal.'
"'What?'
' 'Good-by, old friend. I'm leav-
ing. Can't turn down all these of-
fers' — showing him the telegrams —
'while you make up your mind
whether you want me or not.'
' 'Why, didn't you know ? You
went on the pay roll yesterday.'
"I didn't know what the salary
was, but I thought with all these
offers it should be doubled, so after
a short conference and a great deal
of haggling, it was. And that's that."
Glenn Tryon's humor is of the
buoyant, evanescent kind that is al-
most impossible to capture and set
down on the written page. It is con-
stant and bubbling and yet, with it
all, there is a stratum of cold, hard,
common sense in his make-up that
rather startles one.
I have been in his dressing room
when he was beset by harassed di-
rectors seeking advice as to why cer-
tain scenes fell flat ; by perplexed
camera men as to the best angle from
which to shoot other scenes to ob-
tain a desired effect ; by gag men as
to what could be done to pep up
other sequences. And don't kid
yourselves that this baby couldn't
bring plenty of gray matter to bear
on the subject. The grinning co-
medium disappears as if by magic.
Withal, he is one of the hardest
people to interview I have tackled.
He is such excellent company there
is the constant temptation to forget
all about the interview and just talk.
And you, who only see him in
shadow, are out of luck, because
funny as he is on the screen, the
camera only scratches the surface
of his personality. I can think of
nowhere I'd rather be on a hot after-
noon, or any other time, for that
matter, than in that little English
house on the side of the hill, listen-
ing to Glenn Tryon's chatter and sip-
ping Mary's — -er — shall we say root-
beer?
Continued from page 109
good? Surely not! His interviews are
always entertaining. I hardly ever agree
with what he says, but I don't enjoy them
less on that account. He avoids glue !
The subject of the moment seems to
be experiences in writing to the stars,
so maybe some of the fans would like to
hear of an English fan's luck — or ill luck,
as the case r-.ay be.
Juliette Brown says that the majority
of those she heard from complained that
Joan Crawford and Dolores Costello do
not answer letters. This isn't always the
case. I have autographed photos from
both, as well as one with a printed signa-
ture from Dolores.
Please, fans, remember that when you
hurl bricks at the stars in these columns,
you may be really hurting them — if they
aren't past it — because some, at least, do
read the letters. Dorothy Mackaill does,
for one. A letter of mine was published
about a year ago, in which there were a
few words in appreciation of Miss Mack-
Wkat tke Fans Tkink
aill. A little later I received a beautiful
photograph, autographed to me.
Margukrite Edgelow.
Westwood, Layter's Way,
Gerrards Cross, Bucks. England.
Dick's Critics Answered.
In August Picture Play a couple of
fans "go off the deep end" at what they
style the Barthelmess deception — as if
doubling for stars were a new thing.
Did they start raving because Novarro
and Bushman did not really drive the
chariots in the big scene that made "Ben-
Hur"? Or was any comment made be-
cause Gilbert did not do any of those
athletic stunts his doubles did for him in
"Bardleys, the Magnificent"?
In "Weary River" the singing of the
convict had to be of such a quality as to
cause a sensation ; a merely pleasant voice
would have weakened the conviction of
the story. In justice to Mr. Barthelmess,
let me repeat what is now common knowl-
edge, that he has expressed his own great
objection to this type of picture. "I am
not a song-and-dancc man," was his ulti-
matum to his chief, "and I don't want any
pictures that star me as such."
As for Mr. Barthelmess' desire for
privacy in his home life, that is no new
thing with him, as Miss Huber should
know, if she has read Picture Play as
long as I have. Mr. Barthelmess' re-
serve is an inherent quality for which we
English respect him as a man as we ad-
mire him as an actor, more and more with
each new film. F. J. Raleigh.
Mannamead, Plymouth, England.
Why Spoil an Accent?
Why should Nils Asther have to learn
to speak English without an accent? He
always appears in foreign roles, and an
accent would be perfectly in keeping. I
don't see why American actors should be
made to assume foreign accents, when
stars to whom they are natural are within
call. If the producers use common sense,
we need not fear losing our Nils and Greta.
"E. S.," I quite agree with everything
you say of Nils. He is darling, isn't he?
But don't you wish he'd be given starring
parts?
Advertising Se<
Where are all the Richard Arlen, Betty
Bronson, Janet Gaynor, and Greta Garbo
fans? No one ever seems to write about
them. Instead, every one seems to have-
gone crazy over Gary Cooper. Why, I
can't imagine, when Nils is around.
Movie Fan.
Philadelphia, Pennsylvania.
Consider the Poor Star.
I wonder what the young lady who
signed herself "Horseshoes" would do if
placed in the position of a star with a
lot of fan mail?
Does she know what she is talking
about when she discusses the cost of pho-
tographs, stamps, and secretaries?
Certainly we pay to see the stars ; and
our patronage pays them their salaries,
yes. But the stars don't sit back and
twiddle their thumbs through all this.
They work. The movies are their liv-
ing, just as much as though they were in
the real estate or insurance business.
Perhaps if "Horseshoes" ever tried to
gather together enough photographs to
take care of the average mail of one star,
and enough stamps to send them, she
would tone down her unjust anger a bit
and realize it is not selfishness or mean-
ness, hut good business and the necessity
of keeping their incomes balanced that
encourages the stars to charge for their
pictures.
F. E. W.
Detroit, Michigan.
Is Fiery Love Passe?
What is Pola Negri's tragedy as an
actress? Many a fan blamed America
and American producers for all of Pola
Negri's screen failures. But is it really
fair? Did America compel Pola to ac-
cept roles she had no sympathy for? In
America, as in Germany, she continued
to be an emotional actress, portraying
with pathos the hot priestesses of the god
of love. What Pola Negri began in Ger-
many she continued in America, and yet
she failed.
What, then, is the tragedy in her
career?
It is in the following things : too much
love fire, too much passion, blood, and
flesh in the primitive thing called love.
Such a feeling has outlived itself in life
and could not stay long on the screen.
People nowadays criticize more or less
all the actions of themselves and others.
Spiritual demands and human interests
have changed our tastes and emotions to a
considerable degree. For better or worse,
nowadays one even loves with the mind.
Look at life, at modern literature, the
contemporary stage — docs the primitive
Pola Negri love have a place there?
This primitive love fire, the emotional
way of portraying it, makes us put Pola
Negri in the first rank of all great
actresses of past screen traditions.
Rosa Shpetnkr.
Soldatskaya Str. 55,
Krementchug, Russia.
Kitty Finds Her Ideal.
To my hard-tried soul the . beloved
poet's words ring in the saddest of
chimes, "There's nothing true ibut
Heaven." But something, at last, has
proven true ! The ideal — Walter Huston.
Words cannot express my admiration
for this interesting man — the wonder
actor with a most pleasant, marvelous
voice. Not only is he a great actor, but
he is a real man, with a big soul that
reaches the broken heartstrings and ties
them with esteem and respect.
Kitty Lee.
2228 Cumberland Street,
Vernon, Texas.
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Dogging Lila's Footsteps
Continued from page 48
patient Griselda she used to lie, I
found a smart, wise-cracking, young
person, with very definite ideas about
a lot of things. She even knows the
name of the smelling salts George
carries around with him, although
she isn't partial to smelling salts,
smoking being her weakness.
"Tell me," said I, "I've heard so
much about Mr. Barthelmess' tem-
perament. What's he like to work
with ?"
"Well, I will tell you. You read a
lot about jealousy among players, and
all that sort of thing. I suppose this
will sound sort of Pollyanna-ish, but
I don't think in all the years I've been
in the profession, I've encountered
any of it. The engagement in 'Drag'
was one of the pleasantest I've ever
had. Frank Lloyd, the director, was
lovely, and Dick is a thorough gen-
tleman. You can see from the pic-
ture that he was most generous. No,
I certainly found no evidence of
temperament, or an ugly disposition.
I found him charming."
And then from the vantage point
of her twenty-four years, twenty or
twenty-one of which have been spent
on the stage and screen, Lila began
to reminisce.
"Do you regret the old days?" I
asked.
"In a way. You naturally miss
working with the people you've
known, and it's nice to feel at home,
instead of like a stranger on a lot.
But, on the other hand, my outlook
on life is brighter and saner than it's
ever been. I feel surer of myself
and, certainly, the future looks rosier.
I'm working on my third picture
since 'Drag,' already. The other two
were 'The Sacred Flame' and 'The
Argyle Case,' marking Thomas
Meighan's return. Isn't it funny
how these threes have followed me?
Maybe this third time will be the
charm and the cycle will be com-
pleted."
"Yes," I murmured, remembering
that I was in love with her for the
third time, "the cycle's completed all
right." And I went hopefully into
my third faint.
Your Darts Strike Home
Continued from page 43
being of any benefit to the actor
at all.
"But more often than not, valuable
pointers are gained from fan letters
that are as helpful as they are correc-
tive.
"Gwen Lee told me, once, that she
learned a much better make-up for the
camera, because a fan had commented
on her glaring lips and eyelashes.
Can you see the difference in the line
of criticism? One aided a player to
improve herself. The other merely
succeeded in hurting, where there
was no help to be derived.
"The fans are also a steady barom-
eter of the sort of picture one should
do. An actor has a very limited and
personal idea of his ability. The co-
median wants to do Hamlet. The
Hamlet wants to do comedy. In our
hearts we really believe that we could
be equally effective as vamps, chorus
girls, ingenues, or leading ladies.
"Though we very seldom have the
opportunity to reply to a compliment
or a criticism from the fans, you
might tell them for me that we read
their letters."
We might have gone on and on
into the interesting subject of ama-
teur criticism, if an assistant direc-
tor hadn't arrived on the scene with
tidings that the sound stage was
ready for Leila's singing test. Yes,
she has a very nice voice, and it
won't be doubled.
I think it would peeve her consid-
erably to find the remark in the fan's
column a month or so from now that
Leila Flyams is just another doubled
voice.
Ever since Leila broke away from
the protective interest of vaudeville-
famous parents, she has wanted to
stand on her own merits, and get
credit where credit is due. Her in-
dependence brought her no little hard-
ship at the beginning of her career.
Though she was receiving a good
salary with the vaudeville skit, and
could have traveled about the coun-
try in comfort, she threw it all over
in favor of two years of extra work
at the New York studios.
It wasn't long before she was play-
ing bits and small parts, and shortly
after that, a clever agent induced
Leila to come to Hollywood. Thanks
to proper management, she stepped
immediately into leading roles, with
Fox and Warner, and eventually with
Metro-Goldwyn, where her most im-
portant pictures have been "The Idle
Rich," "Wonder of Women," and
"Alias Jimmy Valentine," with Wil-
liam Haines. She is married, likes
bridge, her home, and the beach, and
lest you forget, she never fails to
read "What the Fans Think."
ADVERTIS] NG N.i I [ON
ll. r ,
What Are tke Talkies Saving?
inued from page K7
And two sisters heard themselves
speaking words of sisterly devotion
the other day, and when the scene
was finished, one of them yelped,
"Well, I'll bet if she doesn't quit
moving her feet when I'm talking, I'll
make that Jane look like a fifty-cent
kimono after a hard day's wash!"
The play-back room, yon know,
corresponds to the former room
where rushes were shown at the end
of the day; only in this case the play-
ers listen to their scenes minus the
picture.
Vernon Rickard told me ahont a pic-
ture he was playing in for Yitaphone,
which Bryan Foy was directing.
"We did a scene, and when we lis-
tened to the play-hack, we were
dumfonnded to hear the most awful
flood of profanity issuing from the
horn, without knowing where on
earth it came from," said Vernon.
"A property man up in the flies
was supposed to drop a bucket down
on an actor's head. The bucket
dropped all right. It was just then
we heard the swearing. Finally we
discovered it was the man in the
flies who had done the cussing. He
swore when he dropped the pail.
" 'Aw, well,' he said, T could see it
wasn't going to he a very good scene,
anyway, so 1 knew it didn't matter if
J did speak.'
" 'Ladies and gentlemen <>\ the
stage," Bryan Foy addressed his com-
pany, 'we now have Mr. Belasco up
in tlu 1 flies directing the scenes.
Please pay attention to him. I fe
knows whether a scene is any good
or not !' "
.And what a producer at one of die
big studios was heard to saw over the
play-back, about one of his stars, is
just nobody's business !
Here's another funny thing ahont
the talkies. You hear an amusing
line and you want to laugh; hut they
don't give you a chance. On they
rattle. Then in a ivw minutes there's
another line, supposed to he funny,
and the actor waits for his laugh,
while the house sits in deadly silence
with never a giggle. That spacing
for laughs is a tough business.
But do you notice how nice all the
actors are to each other in the talkies
with regard to trying to push each
other upstage? That isn't kind-heart-
edness, my friends. That's hecause
if an actor pushes another hack-, he
himself gets further away from the
microphone.
Wken The)? Love Out Loud
Continued from page 59
"We took that scene twenty-eight
times. Because of the exterior set-
ting, it could not he filmed on a sound
stage. Consequently, just as we
were getting into the mood of the
thing, a street car would go by (long-
ing a hell. An airplane would hiss
overhead. Truck drivers seemed to
be inspired to honk just as they went
by. Finally, when we believed we
had succeeded in getting a fair de-
gree of silence, an ambulance whirled
along. Twenty-eight times Buddy
told me he loved me.
"The Richard Dix picture didn't
offer much of a chance for really ro-
mantic love scenes. The story was in
a comedy vein, so naturally the love
interest was light. But Richard
should make an awfully thrilling
sound lover."
Because I'm just that type, I asked
if any of the charming gentlemen
ever became so inspired with their
love scenes with June that they
junked the dialogue and suhstituted
their own ideas?
"Heavens, no!" she gasped. "The
director wouldn't let them. Footage
and the running length of a scene are
even more important in sound pic-
tures than in silent ones. Xo matter
what the personal feeling of the ac-
tors — I mean their feeling for one
another — they have to speak their
lines and then quit. That's one way
in which the love scenes have
changed. Some kind-hearted direc-
tors used to let them run on and on,
and I bet more than one girl in pic-
tures has had the experience of find-
ing her own name suhstituted for
that ot the heroine — when movies
were silent.
"Did you ?" T asked.
"I'm not telling." laughed Mrs.
Collycr's little girl.
"But don't forget this angle," she
added. "Remember that not all
scenes are played between people who
are interested in each other. Tn that
case the dialogue is a lift' saver.
Having certain set phrases tn speak
covers the lack of natural inspiration,
and no matter how hectic the finished
scene may look to the audience, it
was just business to the players."
Somehow T got the idea that loving
out loud was all right with any one,
except the one who might have some
ideas of bis own on the subject. Or
am T wrong. June ?
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Tke>> Watch Their Step
Continued from page 90
question is, 'Have we enough money
to make a go of it?' Of course our
combined salaries amount to more
than the average couple gets, and I'm
certainly making no secret that I shall
assume half of the financial obliga-
tions, at least until Buddy is more
than able to support us both.
"Why shouldn't I ? Why shouldn't
any woman? Especially in this day
and age, when women are capable of
making as much, or more, than men?
I think Ruth Roland said a very
wise thing when she announced her
engagement to Ben Bard. She said
that money is meant to purchase hap-
piness for a couple, and it didn't make
any difference which one of them had
it. Maybe back in our grandmother's
day it was proper to wait until a
man could be a 'good provider,' but
that idea is out of date now.
"I don't want to be a parasite, when
I am capable of making my own
money. I wouldn't feel right about
it. Another reason is that I like to
work, and I don't know of anybody
I would rather work along with than
the boy I love. I think that sort of
experience brings a couple closer to-
gether.
"At first we are going to have just
a little apartment. After we have paid
for that and our clothes, and saved
a little for a rainy day, we'll take
the rest to have a good time on. If
there isn't any left," Duane chuckled,
"we'll stay home and play bridge.
My advice to every young married
couple is to learn bridge. It keeps
you out of a lot of expensive eve-
nings."
At the same party Jobyna Ralston
told me a little secret economy be-
tween herself and Richard Arlen. "It
was on the engagement ring," said
Jobyna. "At the time I met and
fell in love with Dick, I was making
a great deal of money, and he was
on a very small salary with Para-
mount. But he had saved up a little
money, and he wanted to spend it on
a beautiful ring for me. I absolutely
put my foot down. I don't care a
great deal about jewelry, anyway,
and I told him I would appreciate the
cameo ring he was wearing so much
more. So with the money he saved
on the ring, he started our home in
Tallica Lake. Since then Dick's sal-
ary has mounted considerably, and
every time he gets a raise he threat-
ens to go down and invest in a dia-
mond. But this ring" — she twisted
a pretty cameo that had been in
Dick's family for years — "means so
much more to me than a diamond
would. It means that we were wise
about money at a time when we
needed to be."
It's Great To Be Famous
Continued from page 83
improvised, "Mr. Davey Lee : I saw
you in 'The Singing Fool.' You
wasn't so good !"
A popular individual in Hollywood
the past few years has been Peter
Pan. Letters thus directed were de-
livered to Betty Bronson.
Numerous communications are ad-
dressed to Silver King, the horse
owned by the late Fred Thomson,
and to Tony, the celebrated mount
used by Tom Mix. Occasionally a
communication arrives for Leo, the
Metro-Goldwyn lion whose head is
that company's trade-mark. Once in
a while, too, the Pathe rooster gets a
letter from a fan.
Almost all these letters might be
stamped "Returned for better ad-
dress," when a return address has
been given. Or they might be sent
to the dead-letter office. But the mail
men appear to do their best in mak-
ing delivery. The postal authorities
do not approve of such freak ad-
dresses, and plainly say so.
It is estimated that 885.000 fan let-
ters reach Hollvwood each month, to
be opened, and read by studio clerks.
Those which should receive the per-
sonal attention of the stars are sorted
out.
"We have, on an average, 197,000
incoming letters each month," said
Harvey Pugh, in charge of the mail
room at the Paramount studio, "and
nearly the same number outgoing.
Many send stamps for requested
photographs. These stamps pile up
so rapidly we do not count them. We
weigh them. Five hundred and thir-
teen two-cent stamps weigh one
ounce. These are worth ten dollars
and twenty-six cents. On rainy days,
or when the atmosphere is heavy with
moisture, the stamps are dried out be-
fore being placed on the scales. Not
long ago we had more than seven
hundred letters to go out by airmail.
I weighed, the contents carefully and
sent them to the post office, confident
each one was under the half-ounce
limit. Pretty soon a telephone call
came.
: 'Those letters you sent in,' a
postal employee said, 'are overweight.
Advertising Section
117
You'll have to put on more post-
age.'
" 'But they aren't overweight,' I
insisted. 'The same matter is in each
one of them. I checked them closely.'
"Nevertheless 1 got the letters, and
found that the post office was right.
They had absorbed sufficient moisture
to be ahove the initial half-ounce in
weight. I placed them hefore a radi-
ator for half an hour to dry them
out, then the post office accepted the
entire seven hundred as postage
paid."
It isn't often that a letter
astray, hut it happens sometimes.
Nils Asther got one Erom a small
town in the Middle West addn
to "Niles Aster," and opened it. The
letter contained a garage hill for
ninety dollars, and a curt request tor
the money.
"You said you would pay the dam-
tdge dun to my car," the note said.
"Now send it on."
Nils had never been in that vicinity
in his life.
Add Five Inches
To Your Chest!
Checking Up On Dick
Continued from page 21
"The only way to get rid of solici-
tors and others is to he damn rude
to them. They would hound you to
death otherwise."
Strangers heat down the hedges
of the Arlen estate and trample over
the lawn and introduce themselves.
"You know, Air. Arlen, I'm just
so crazy about you "
"Say! Aren't those flowers just
the most wonderful ! What are they ?
Well, did you ever! I wouldn't
dream of imposing upon you, Dick.
I'm not like some of those crazy fans.
I like to he considerate. Those flow-
ers are certainly great. Could you
send me some seeds? Better still,
send me the flowers, roots and all,
when they commence to hud. Wrap
them up carefully, so they won't
wilt." And so on.
"I'm planning to have my hedges
grow seven or eight feet high. They
will thicken and no one can get
through," Dick prophesied hopefully.
"The entrance is open right now, hut
I'm going to have a gate put on — a
closed iron gate you can't see through
■ — with a lock on it, so you'll have to
use a key to come in, or go out.
"It's not so much meeting people
I object to, as it is to have total
strangers trying to get into my home.
Not long ago " Dick stopped
again. A man walked along the
driveway toward us. I got up and
approached the house. Soon Dick-
followed. "Let's go inside," he
urged. "We'll he pestered to death
if we remain in front." So we went
within and sat in a cool, shady patio,
without an insect or a tourist to an-
noy us.
"You know," Dick resumed, "when
I was clown and out, not a person
bothered to find out if I were alive.
I mean people I knew hack home. I
might have been dying, for all they
cared. Yet now I am visited by
friends of a friend of the cousin of
the aunt of some one I knew very
slightly ten years ago. You can't
blame me if I don't give them a rous-
ing reception."
"I certainly don't. I'd send them
to the Carriso Gorge."
You see, as Dick points out. suc-
cess hrings its troubles, no less than
failure.
We went over to the Taluca Lake
golf club and lunched. I expected
any minute to see a stranger spring
through one of the open Trench win-
dows and confront Dick with praise,
or a request, or both. But only Olive
Borden, looking exquisite, her press
agent and a young reporter entered,
just as we were departing.
Said Dick as we drove away, "I
find that the best thing to do is never
to worry, no matter what position
you find yourself in. Down and out,
or successful, each extreme brings
troubles, so it's best to be content,
even indifferent.
"There's one chap you've got to
admire — Gary Cooper. He takes ev-
erything casually. He'll come to the
set for rehearsals in an old suit, his
face probably unshaved, his hair
rumpled. Yisitors may come, but
that means nothing to Gary. He re-
mains indifferent and enjoys him-
self. I think his mind is wrapped up
more in his ranch than in pictures."
Dick Arlen is just as natural.
Where the average youth in pictures
tries so obviously to impress you with
his unassuming ways, Dick remains
himself with much more success.
Most of the newcomers put on an
act. Their "boyishness" oozes all
over them, their "simplicity" becomes
chronic. No wonder a poor inter-
viewer is sometimes forced to tell the
cruel truth !
It is bad for the poseurs — but not
for Dick Arlen. I have kept an eye
on him since he began to climb. He
has changed, as every one changes,
but he has not become an actor in
private life. In other words — Dick
Arlen is Dick Arlen and a great fel-
low.
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"The World's Most Perfectly Developed Man' '
171 Madison Ave., Dept. 1612, New York City
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A Confidential Guide to Current Releases
Continued from page 68
"Alibi" — United Artists. All dialogue.
Crook picture, played and directed with
distinction. A cop's daughter sympa-
thizes with underworld, marries a
crook, but is soon disillusioned in a
thrilling climax. Chester Morris, Elea-
nor Griffith, Pat O'Malley, Regis Too-
mey supply high lights in action and
talk.
"Letter, The" — Paramount. Enter-
taining eloquence and dramatic situa-
tions make this a milestone in all-dia-
logue films, and bring to the screen the
gifted Jeanne Eagels. A civilized pic-
ture showing the wrecked lives of an
English couple in Singapore. Stage
cast devoid of cuties includes O. P.
Heggie, Reginald Owen, and Herbert
Marshall.
"Iron Mask, The" — United Artists. A
picturesque tapestry, sequel to "The
Three Musketeers," superbly exploit-
ing Douglas Fairbanks. Story from
Dumas revolves around the throne of
seventeenth-century France. Marguerite
de la Motte, Dorothy Revier, William
Bakewell, and Ulrich Haupt.
FOR SECOND CHOICE.
"Street Girl"— RKO. Singing and
dialogue. Story of a girl found starving
on the streets, who turns out to be the
salvation of four musicians who be-
friend her. Hard to believe, but prob-
ably entertaining to majority. Betty
Compson in the sugary role, Jack Oakie
good as lines permit; John Harron, Ned
Sparks, Guy Buccola.
"Smiling Irish Eyes" — First National.
All dialogue. Colleen Moore's first
talkie, in which she is much better than
the story deserves. An Irish lass lets
her fiddling lad go to New York, and
after a lot of transatlantic travel, they
finally embrace over the wishing well,
back on the ould sod. James Hall, Ag-
gie Herring, Claude Gillingwater.
"Say It With Songs"— -Warner. Sing-
ing and dialogue. Al Jolson's new pic-
ture, cut from previous patterns. A
good deal of moviesque hocus-pocus, as
well as sonny-boy songs, but perhaps
you like them. Davey Lee and Marian
Nixon.
"Man and the Moment, The" — First
National. Dialogue. Talking debut of
Rod La Rocque, opposite Billie Dove, in
glossy, diverting society film. A gay
philanderer marries a sheltered girl, and
his former sweetheart makes trouble.
La Rocque's dialogue good. Besides
the stars, there is Gwen Lee.
"Hungarian Rhapsody" — Paramount.
Sound. Smoothly directed, well-photo-
graphed film> in Hungarian setting.
Charm rather .than wrenching moments.
European favorites, Dita Parlo, Lil
Dagover, and Willy Fritsch. Story of
officer's love for girl and his career.
"Lucky Star" — Fox. Part dialogue.
A countryside idyl with Janet Gaynor
and Charles Farrell, and the director is
Frank Borzage. As pretty and as good
as one would expect, the story being
that of a farm girl and her crippled ex-
soldier lover. Guinn Williams is the
bad, bad villain.
"Pleasure Crazed"— Fox. All dia-
logue. Wild scramble of melodrama,
with a cast including three important
talkie discoveries, Marguerite Church-
ill, Dorothy Burgess, Kenneth Mac-
Kenna. Intrigue and adventure around
a country estate, crooks, jewels, and
lovers. Well-played support.
"The Time, the Place, and the Girl"—
Warner. All dialogue. An amusing,
lively story from the pompadour age.
Grant Withers makes debut in talkies,
with honors, as victim of a stock fraud,
but he blunders out. Every moment
good for a laugh. Betty Compson, John
Davidson, Gertrude Olmsted.
"Charming Sinners" — Paramount. All
dialogue. A mild stage play denatured
further for the screen, with much tea
sipping and hand kissing. A constant
wife catches up her husband and gives
him a lecture and makes threats, all
elegantly set forth by Ruth Chatterton,
Clive Brook, and William Powell.
Mary Nolan's first talkie appearance.
"Behind That Curtain"— Fox. All
dialogue. Very good film, in spite of
the mystery being revealed too soon.
Lois Moran in audible debut. Story of
a girl who marries an adventurer in
London and discovers in India that he-
is a murderer. Capital performance by
Warner Baxter. Gilbert Emery, Philip
Strange do well, also.
"Broadway Babies" — First National.
All dialogue. Backstage melodrama of
the usual sort, with one redeeming
sequence. Entertaining, with Alice
White trying hard to act, and a good
cast. Fred Kohler, as rum-running
lover, magnificent. Charles Delaney,
Sally Eilers, Marion Byron, Bodil Ros-
ing.
"Mysterious Doctor Fu-Manchu, The"
— Paramount. All dialogue. Scotland
Yard versus Doctor Fu, with plenty
of Oriental trimmings, develops into a
thrilling climax. The heroine is the
ward of the Chinaman, and the gallant
hero one of the latter's marked vic-
tims. Warner Oland, Neil Hamilton,
O. P. Heggie, and Jean Arthur do well.
"Four Feathers, The" — Paramount.
Silent. English soldier loses his nerve
before Sudan war, but later goes to the
jungles to redeem himself in the eyes
of fiancee and friends. Authentic, thrill-
ing sequences made in the wilds, around
which picture is cleverly built. Fay
Wray, Richard Arlen, Clive Brook, Wil-
liam Powell, Noah Beery, Philippe de
Lacy.
"Black Watch, The"— Fox. All dia-
logue. Pictorially magnificent film
about English soldier on the Afghan
front, whose mission is to win love of
girl leader of hill tribe. Stirring epi-
sodes, but falls short of its ambitions.
Victor McLaglen, Myrna Loy, David
Rollins, Mitchell Lewis, Roy d'Arcy.
"Cocoanuts, The"— Paramount. All
dialogue. The Four Marx Brothers
bring their capers and humor to the
screen, without loss of fun or individu-
ality. Slight musical-comedy plot about
a stolen necklace. Kay Francis, Cyril
Ring, Oscar Shaw, and Mary Eaton.
"Broadway" — Universal. All dialogue.
Big in point of sets, story reminiscent.
Show girls, wise-cracking boys, boot-
leggers in evening clothes, with gun
play and love-making, all finally meet-
ing suitable rewards. Old stuff made
tolerable by embellishments. Thomas
.\l)\ IK l [SING Mi l ION
119
E. Jackson and Paul Porcasi 01 stage
cast, Evelyn Brent, Glenn Tryon, Rob-
ert Ellis, Leslie Kenton, Arthur H
man, Merna Kennedy.
"Fox Movietone Follies of 1929"—
Fox. All dialogue and song. Pagean-
try of colorful revue, with wisp of
story, and all the ingredients of a stage
show, except a certain cleverness.
Many well-known faces, including Site
Carol, David Rollins, Stepin Fetchit,
Sharon Lynn.
"Innocents of Paris" — Paramount.
Dialogue and singing. Debut Maurice
Chevalier, French stage star of unique
personality due for merited success in
another picture. Shoddy story of waif
befriended by junkman and hitter's rise
to fame on stage. Astonishing per-
formance by child, David Durand. Syl-
via Beecher and Margaret Livingston.
"Bridge of San Luis Rey, The"—
Metro-Goldwyn. Part dialogue. Story
of notable novel, faithfully brought to
screen, with reverence and pictorial
beauty. Frustrated, unhappy lives of
five characters end with collapse of an-
cient Peruvian bridge. Lily Damita,
Raquel Torres, Duncan Rinaldo, Don
Alvarado, Emily Fitzroy, Henry B.
Walthall, and Ernest Torrence.
"Desert Song, The"— Warner. All
dialogue and singing. First operetta to
reach screen, with solos, duets, and
choruses of stage representation. Silly
story, but no fault of screen's telling
of it, but whole thing too long, there-
fore tedious. John Boles, Carlotta King,
Louise Fazenda, Myrna Loy, John
Miljan, and Johnny Arthur.
"Not Quite Decent"— Fox. Part dia-
logue. Hard-boiled night-club queen
discovers long-lost daughter as chorus
girl listening to temptations of villain,
so she exposes serpent to girl in great,
big scene of simulated drunkenness and
toughness. Theatric, unconvincing, but
tolerably interesting. Louise Dresser,
June Collyer, Paul Nicholson, and Allan
Lane.
"Show Boat" — Universal. Part dia-
logue. Life aboard a river theater
traced on a wide canvas. Stirring musi-
cal accompaniment, but well-known
story does not gain in film version.
Laura La Plante, Joseph Schildkraut,
Emily Fitzroy, Alma Rubens good.
"His Captive Woman"— First Na-
tional. Part dialogue. Dorothy Mack-
aill at her best, opposite Milton Sills.
Silent episodes on charming island,
where love blossoms. Murder trial with
surprising sentence. Beautiful photog-
raphy, excellent acting.
"Christina" — Fox. Silent. Quaint,
pretty, though sirupy, picture, with
Janet Gaynor as Dutch girl, and
Charles Morton her circus sweetheart.
Troubled love, but certain to turn out
right from the first. Rudolph Schild-
kraut, Lucy Dorraine.
"Lady of the Pavements" — United
Artists. Old screen friends in new trap-
pings, but familiar situations. A haughty
countess, Jetta Goudal, spurned by her
fiance, counters by making him fall in
love with a cafe girl, Lupe Velez, picked
up and made a lady overnight. The
affair gets out of hand, the girl flees,
and the lover follows. William Boyd is
the man. Lupe sings and sings.
"Noah's Ark" — Warner. A spectacle
of more eye than ear interest, unsur-
passed in its Deluge scene. Modern se-
quences culminating in a hopeless tan-
gli in the World War, which Fadi
the biblical sequences, where the same
characters appear. O'Brien,
Dolores Costello, Guinn Williams, Noah
Beery.
Romantic, po-
of .-inn's untir-
innocenl country
"River, The"— Fox.
etic, and slow picture
effort to win an
lesn't know what it - ai
about. .Ma: nificenl backgrounds "
est and stream and besl acting of
Charles Farrell's career. Mary Duncan
unusual as persevering siren finally sub-
limated 1>\- love.
*'...
RECOMMENDED— WITH
RESERVATIONS.
"Fast Life"— First National. All dia-
logue. A hollow story, topheavy with
theatrics and bombastic talking. Melo-
dramatic situation in which the gov-
ernor's son, Chester Morris, hesitates to
confess a murder and save his friend's
life. Other players John St. Polis,
Douglas Fairbanks, Jr., Loretta Young.
"Melody Lane" — Universal. Songs
and dialogue. This feeble imitation of
"The Singing Fool" is the vehicle for
much crooning after the manner of a
past age and an old-fashioned story.
Eddie Leonard, Huntly Gordon, Joseph-
ine Dunn. A baby girl is the inspira-
tion of the singing.
"Twin Beds"— First National. All
dialogue. A moth-eaten farce in which
an inebriated stranger wanders into the
bride's bedroom and things have to be
explained before happiness sets in.
Patsy Ruth Miller is charming as the
bride. Jack Mulhall, Armand Kaliz,
Gertrude Astor, Zazu Pitts.
"Thunder" — Metro-Goldwyn. Silent.
The trials of a veteran engineer who
suffers from a schedule complex are
portrayed by Lon Chaney. The climax
comes with hauling a relief train to
flood sufferv.'s over a submerged track.
Too much detail. James Murray fine.
Phyllis Haver and George Duryea.
"Wheel of Life, The"— Paramount.
All dialogue. Action revolves slowly,
and by coincidence. Heavy efforts to
dodge love in India, that hotbed of ro-
mance, until a stray bullet paves the
way. Richard Dix a very un-English
Englishman, and Esther Ralston does
not gain by speeech.
"Drag" — First National. All dialogue.
Richard Barthclmess at low ebb, in
story about a country newspaper editor
whose in-laws are a "drag" to his ca-
reer, until he finally returns to the city
and his first love. Alice Day, Lila Lee,
Lucien Littlefield, and Tom Dugan.
"Father and Son" — Columbia. All dia-
logue. Artificial plot and dialogue, the
sweet, sweet palship of father and .-on
all hut wrecked by fortune-hunting step-
mother. A homemade phonograph rec-
ord saves the day. Jack Holt, Micky
McHan, Dorothy Revier, Wheeler Oak-
man.
"Idle Rich, The"— Metro-Goldwyn.
All dialogue. Story of conflict between
young millionaire and his stenographer-
wife's poor family, in realistic comedy.
Poor recording and photography, but
good acting. Bessie Love, Conrad Na-
gel, Leila Hyams, Robert Oher. lames
Xeil, Edythe Chapman, Paul Knu er.
Kenneth Gibson.
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120
Advertising Section
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Continued from page 102
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does! If there's a Gary Cooper club,
that's just dandy — but I was never noti-
fied, and unfortunately you don't tell me
who is in charge. The leading man in
"What Price Beauty?" was Pierre Gen-
dron. Eugene O'Brien is in vaudeville.
M. T. S. — Much as I like to he oblig-
ing, it is asking too much to expect an
answer in "the next issue." In fact, it's
asking a miracle. A magazine requires
about three months for printing and dis-
tribution. Ken Maynard was born in
Mission, Texas, July 21, 1895. He went
to a military school in Virginia, and then
became a trick rider in circuses and Wild
West shows. He was a featured rider
in Barnum & Bailey and Ringling Broth-
ers circuses in Los Angeles, before start-
ing his film career in December, 1922.
He married Mary Deper, August 18, 1925.
N. R. Whipple. — Fannie Brice has been
making a film at United Artist studio.
I think Davey Lee could be reached
through Keith-Orpheum, Los Angeles.
"Snookums" is with Universal ; his name
is Sunny McKeen. Farina is really a col-
ored boy, named Allan Hoskins, and he
works at the Hal Roach studio in Culver
City, California. Magnolia's mother in
"Show Boat" was played by Emily Fitzroy.
Mildred LanDeo. — Yes, I might as well
have all those questions in one gulp and
get them over with ! Charles Rogers has
an elder sister who is married. I think his
parents live in Olathe, Kansas. Nancy
Carroll is twenty-three and separated from
Jack Kirkland, her husband. Ronald Col-
man is thirty-eight, married, but does not
live with his wife. Alice White is twenty-
two and unmarried. Answers to your
other questions are included elsewhere in
this department.
Marathon.- — If I answer your questions,
you'll know I'm good? I don't want peo-
ple to know I'm good ; they'll expect too
much of me. Renee Adoree — Renee de
la Fento — was born in Lille, France, Sep-
tember 1, about 1901. Five feet one,
weight 107. Blue eyes, dark hair. Mar-
ried June 27, 1927, to William Sherman
Gill ; recently divorced. Richard Arlen
— Richard van Mattimore — was born in
Charlottesville, Virginia, September 1,
1899. Five feet ten, weight 160. Blue
eyes, brown hair. He married Jobyna
Ralston January 28, 1927. George K.
Arthur was born in Aberdeen, Scotland,
January 27, 1899. Height, five feet six,
weighs 135. Brown hair and eyes. His
w T ife is Melba Lloyd, a sculptress. They
were married in 1922. Jean Arthur —
Gladys Green — was born in New York,
October 17th — year not given. Height
five feet four, weight 116. Hazel eyes,
brown hair. Divorce pending from Julian
Ancker, whom she married in July, 1927.
Nils Asther was born in Malmo, Sweden,
January 17, 1902. Height, six feet one
and a half, weight 165. Hazel eyes, brown
hair. He's divorced, but I don't know
from whom. Mary Astor does not give
her birthdate, but it's about 1906. The
big event occurred in Quincy, Illinois. Her
real name is Lucille Langhanke. Height,
five feet six. Auburn hair, brown eyes.
She married Kenneth Hawkes February
23, 1928. Jean Ackerman is a show girl,
not in movies as far as I know r . And
who is Gurla Andre? Are you cata-
loguing the A's?
Ramon's Fan.— Yes, I have met Ra-
mon ; he doesn't seem conceited at a'l.
Perhaps a little naive. Yes, he's among the
ten most popular stars. I didn't happen to
notice the box-office returns of "The
Pagan" or "The Flying Fleet."
Curiosity Ruth and Curiosity Ethel.
—And that doesn't tell the half of it?
Am I supposed to turn over the whole page
to your questions? You'll find all those
dozens of life stories you ask for given
here from time to time. Greta Nissen is a
Norwegian actress. A girl named Eva
Olivotti sang Laura La Plante's songs in
"Show Boat." Rin-Tin-Tin made pictures
for years ; some of his films were "Below
the Line," "Clash of the Wolves," "The
Night Cry," "Dog of the Regiment," "Jaws
of Steel," "Rinty of the Desert." Malcolm
McGregor was born on October 13th ;
William Collier, Jr., on February 12th.
James Ford and Doug, Jr., are both First
National players. Anita Page's real name
is Anita Pomarcs. Others you ask about
use their own names.
Another Garbo Fan. — No wonder
Garbo is such a cool person, with all those
fans ! Billie Dove's real name is Lillian
Bohny. She was born in New York.
Write to Greta Garbo at M.-G.-M. studio
for her picture. "Little Women" was pro-
duced on the screen about ten years ago.
Perhaps Betty Compson wears her hair
fuzzed because she likes it that way.
C. S. and A. S. — Well, C. S., you win.
There is a film called "Mademoiselle from
Armentieres," an English picture released
here last year. Estelle Brody and John
Stuart played the leads. I don't know of
any film called "Murdered Millions," but
there may be some old-timer like that.
Gary Cooper was born May 7, 1901. Wil-
liam Powell is divorced from Eileen Wil-
son. He doesn't give his home address.
Margie. — Not the Margie? Not the one
the song was written about a few years
ago? There was an article about Richard
Barthelmess in Picture Play for Sep-
tember, 1928. He has several fan clubs :
would you like the address of the one in
Brooklyn? That's Ethel Milner, 1303
Dean Street, Brooklyn, New York.
Josiana Bernay. — Such a nice letter,
even if it was written in pencil ! You'll
be glad to know that your favorite, Ralph
Forbes, has been signed by First National,
and is playing opposite Corinne Griffith
in "Lilies of the Field." I don't know
why you complain that you haven't seen
him much since "Beau Geste" — didn't you
look? He played in "Mr. Wu," "The
Enemy," "Trail of '98," "The Latest from
Paris," "The Actress," "Under the Black
Eagle," "The Whip," "Reckless Youth,"
"Masks of the Devil," and "Green God-
dess." Isn't that enough? Both Ricardo
Cortcz and Rod La Rocque reached the
movies via the stage. Yes, Alma Rubens
is Ricardo's first wife. It's true she is
very ill, and is not yet well enough to ap-
pear in pictures.
A David Rollins Fan.- — And he has
man}' more ! He was born in Kansas City,
Missouri, September 2, 1909. He began
in pictures as an extra in 1926. David's
new films are "Meal Ticket" and "Listen
to the Band.' - Did you see the story about
him in Picture Play for Noveriber?
Eleanor Martin. — For once I refuse
to stand corrected ! You chide me for
saying some months ago that Buddy Rog-
ci- was twenty-four and, in the same issue,
giving his birthday as August 13, 1904—
which, you say, make- him twenty-six this
fall. Where's your arithmetic — it makes
him twenty-five. Robert Armstrong was
horn in Saginaw, Michigan, November 20,
1896. That'.- his real name. Myrna Loj
is American, of Scotch- Welsh-Swedish de-
scent. Edward Nugent was born in New
York City, but doesn't say when. I
are countless English star- in pictures-
Ronald Colman, ("live Brook, Victor Mc-
Laglen, Ralph Forbes, H. I'.. Warner,
Percy Mann. mt, and many Other actors.
Genevieve A. Lahrieux-Loudance. —
Yes, I'll keep a record of your Lois Moran
Club, though we don't announce them in
PicTfRE Play unless some one asks about
them. I'd be delighted to accept your in-
vitation as honorary member, as long as I
don't have to write any letter- !
Therall E. Fourt.— I'll refer John
Holes' fans to your club.
Statement of the Ownership, Manage=
ment, etc., required by the Act of
Congress of August 24, 191'2, of
PICTURE PLAY, published month=
ly, at New York. N. Y., for Octo=
ber 1, 192!).
State of New York, County of New York (*«.)
Before m<>, a Notary Public, in and for the
stair and eountv aforesaid, personally ap-
peared U 'ge C. Smith, who. having 1 n
duly sworn according to law, deposes and says
that he is \iv President of the Street &
Smith Corporation, publishers of PICTURE
l't.AV, and that the following is to the best
of his knowledge and belief, a true state-
ment of the ownership, management, etc., of
the aforesaid publication for the date- shown
in the above caption, required by tin- Act of
August 24, 1912, embodied in section 411,
Postal Laws and Regulations, to wit :
1. That the names and addresses of the
publisher, editor, managing editor, and busi-
ness managers are: Publishers, Street &
Smith Corporation, 79-89 Seventh Avenue,
New York, N. V.: editor, Norbert Lusk, 7!)
Seventh Avenue. Xev. York. X. V.: managing
editors, Street & Smith Corporation. 79-89
Seventh Avenue. New York, X. Y. : business
managers, Street. & Smith Corporation, 79-89
Seventh Avenue, New York, X. Y.
2. That the owners are: Street & Smith
Corporation, 79-89 Seventh Avenue. New-
York. X. Y.. a corporation composed of Or-
niond C. Smith. 89 Seventh Avenue. Xew
York. N. Y. ; George C. Smith. s:t Seventh
Avenue, New York. N. Y. : George C. Smith,
Jr.. Js'.l Seventh Avenue. XeW York. X". Y'. :
Cora A. Gould, 89 Seventh Avenue, New-
York. X. Y. : Ormond V. Gould, 89 Seventh
Avenue. Xew York. X. Y".
3. That the known bondholders, mortga-
gees, and other security holders owning or
holding 1 per cent or more of total amount
of bonds, mortgages, or other securities are:
None.
4. That the two paragraphs next above,
giving the names of the owner-, stockholders,
end sacurit; he 1.1. r ■.-.. if an? contain n< t nly
the list of stockholders and security holders
as they appear upon the hooks of the com-
pany, hut also, in cases where the stockholder
or security holder appears upon the hooks of
the company as trust >r in any other
fiduciary relation, the name of the person or
corporation tor whom such trustee is acting,
is given : also that the said two paragraphs
contain statements embracing affiant's full
knowledge and belief as to the circumstances
and conditions under which stockholders and
security holders who do not appear upon the
books of the company a- trustee-, hold Stock
and securities in a capacity other than that
of a bona fide owner, ami this affiant has no
reason to believe that any other person, as-
sociation, or corporation has any interest di-
rect or indirect in the said stock, honds, or
other securities than as SO stated by him.
GEORGE! C. SMITH. Vice President.
Of Street & Smith Corporation, publishers.
Sworn to and subscribed before me this
1st day of October, 10211. r>e Witt C. Y-Mt
Valkenburgh, Notary Public No. 7t. New-
York Count v. (My commission expires March
3", 1930.)
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There was a time when you had to take an interpreter
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It was one of the disadvantages of travel that had to
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■ -
William Fox
presenis
- and did, tneu teucfi trie
fiqfi sp oU ? WOW/
^f MORT
V^ MONTMARTRE
-where "Pike" Peters
met Claudine, the
gold-digging grisctte.
Will POGERS
as "Pike" Peters, saw everything that Paris
had to show — and that's an eyeful. At the
Folies-Berge're he shouted "Pike's peek or
bust." He paixed and paixed at the Cafe
de la Paix. Ooo-la-la-la!
At Notre Dame, he spent all day looking
for the hunchback and thought a chapeau
was a place to live. He was gold-digged from
Montmartre to the Latin Quarter, which he
• thought was two bits in Roman money.
America's favorite comedian and most
natural talking picture actor is a riot in this
hilarious comedy of a newly rich American
family who tried to crash Parisian society.
Go to Paris via this all-talking Fox Movietone of
Homer Croy's novel, dramatized by Owen Davis.
directed by FRANK BORZAGE
BOULEVARD
de CtlCHV
Claudine's apartment where
Mrs. Peters went to find Pike.
_where Mrs. Peters
mc . the Matqtm de
L l ,r*s«Me title for her
unmarried daughter.
*£&$*
-i*ov
• """"en,.
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P 'kr h
|!J!!!!IIIIDI!!il»^^
MONTHLY
Picture Play
Volume XXXI
Contents for November, 1929
Number 3
The entire contents of this magazine are protected by copyright, and must not be reprinted without the publishers' consent.
What the Fans Think 8
An open forum for and by our readers.
"His Glorious Night" 15
John Gilbert and Catherine Dale Owen give a glimpse of their new film.
Their Actions Speak Louder Than Words . William H. McKegg
The "geniuses" of Hollywood act off the screen as well as on.
The Battle of the Accents ....
An amusing discussion of speech on the screen.
Oh, Davie, Behave!
David Rollins evokes the admonition.
Come On, Let's Sing
The stars are accompanied to their music lessons.
Over the Teacups .....
Fanny the Fan's inimitable chatter.
Back Home — and Happy ....
Tom Mix joyfully rejoins the circus.
Elsi Que
Samuel Richard Mook
Elza Schallert
The Bystander
Helen Klumph
Margaret Reid
16
20
22
24
28
32
34
35
43
Bill Powell— As He Is
A searching resume of William Powell's career and character.
Favorites of the Fans
Full-page portraits in rotogravure of eight.
Irene Is Made Over Myrtle Gebhart
Miss Rich comes back to the screen transformed.
Dance, Baby, Dance! . . . . . ... . . . .44
Elliott Nugent and Phyllis Crane illustrate some snappy, new steps.
Calm As the Night William H. McKegg . 45
Marguerite Churchill's first interview.
He Dug His Way In Helen Louise Walker . 47
You'd expect that of Guinn Williams, wouldn't you?
Hollywood High Lights Edwin & Elza Schallert 50
News and gossip of the cinema colony.
That Nameless Something 54
Kay Francis illustrates it in her manner of wearing clothes.
Freddie For Keeps ....
Fredric March decides to stay in the movies.
Hollywood's Nine O'Clock Girl .
She's Anita Page.
Continued on the Second Page Following
Helen Louise Walker . 55
. Myrtle Gebhart . • .56
Monthly publication issued by Street & Smith Corporation, 79-89 Seventh Avenue. New York City. Ormond G. Smith. President; George C. Smith, Vice
President and Treasurer; George C. Smith, .Jr., Vice President; Ormnnd V. Gould, Secretary. Copyright, 1929, by Street & Smith Corporation. New
York. Copyright. 1929, by Street & Smith Corporation, Great Britain. Entered as Second-class Hatter, March 6. 191U, at the Post Office at New York.
N. Y.. under Act of Congress of March [i. 1879. Canadian subscription, $2.86. Foreign. $3.22.
YEARLY SUBSCRIPTION, $2.50
SINGLE COPIES, 25 CENTS
ALL MANUSCRIPTS MUST BE ADDRESSED TO THE EDITORS
We do not hold ourselves responsible for the return of unsolicited manuscripts.
l:iliillllll!l!!llillll!liil!IIIIIIM IIL!
Advertising Section
THE TWO BLACK CROWS
on the Talking Screen!
OU'VE heard them on the radio. You've laughed your
head off at their phonograph records. Now hear them real
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MOHAN & MACK
IN
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A Paramount All-Talking, Dancing, Singing Hit of The
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Contents — Continued
The Stroller .
Pungent comment on the idiosyncrasies of Hollywood folk
A Confidential Guide to Current Releases
Timely tips on pictures now showing.
The Screen in Review .....
Our critic gives his opinion of the new films.
What's This?
Well, see for yourself.
To Him Who Waits
Paul Page practiced patience to get into the movies.
She Couldn't Kid Herself . . . .
Now Dorothy Mackaill doesn't try.
Her Five Gifts
Doris Kenyon's full life employs them all.
Modern Muses
Photographs of beautiful girls who typify them.
He's a Soft-boiled Egg
It's a compliment, and Victor McLaglen merits it.
Are Censors Human? ......
Some funny observations prove otherwise.
The Chorine Comes to Stay ....
Singing pictures give the chorus girl a new field.
Easy Come, Easy Go
Interesting recollections of some fluctuating careers.
Information, Please
Answers to readers' questions.
Neville Reay .
• • • • •
Norbert Lusk
• • • • •
William H. McKegg
Myrtle Gebhart
Aileen St. John-Brenon
• • • * •
Alma Talley .
Elsi Que
H. A. Woodmansee
Willard Chamberlin
The Picture Oracle
58
61
62
66
67
68
71
72
74
83
84
87
102
HOLLYWOOD'S STINGY STARS
STINGY?" you say. "Why, I thought stars just rolled in money
and spent it lavishly. They always provide generously for
their parents, and don't their parties cost a lot?"
Yes, they invariably look after their parents as successful
sons and daughters should. And when they entertain their friends,
they usually do it nicely. But there's another side of the question,
and there are some stars who are far from careless with their money.
Some, indeed, watch their dollars so carefully in ordinary expendi-
tures, that they have earned the reputation of being poor spenders,
of being — excuse the word — tight. This anomalous state of affairs
among persons whose incomes are huge is as surprising as it is re-
vealing. And the instances of economy, of downright stinginess,
are still more surprising and revealing.
They have been collected and recorded by Edwin Schallert,
whose article in December PICTURE PLAY will cover the subject
in his usual thorough fashion and will entertain you all the way.
AND THE GENEROUS ONES
ON the other hand, Helen Louise Walker will discuss the opposite
side of the question in the same number. She has discovered
amazing instances of generosity, of gentle — though costly — sym-
pathy among the stars who tide over their less fortunate cowork-
ers during lean periods, and who say nothing about it. She will
tell of the star who was approached for a loan twenty-three times
in one day. When you know the identity of this star you won't need
to be told how he responded!
These two leading articles are characteristic of the entire con-
tents of PICTURE PLAY, and its policy of fairness, of throwing
new light on subjects and personalities, of being entertaining always.
And while you're about it, make a note to look for Myrtle Geb-
hart's story of Anna Q. Nilsson in the same issue. In our opinion,
it is one of her best. Renee Adoree's colorful career and unusual
character will be the subject of another of Margaret Reid's brilliant
analyses and — but there's hardly a star you won't learn something
new about in December PICTURE PLAY.
cJi^!',^5
Advektising Section
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w
Picture a profuse procession of revue spectacle
scenes in amazing settings . . . superbly staged
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• . . the astounding dancing of Ann Pennington
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the treat that is in store for you.
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Ofc
You see and hear Vitaphone on/a in Warner Bros.W First National Picturcf
Wkat the Fans Tkink
New Light On Photo Question.
HAVING read complaints of fans concerning the
photo question, I should like to side with the
stars for a moment, and try to show certain
irritated fans that there are two sides to this "Who gets
the quarters ?" situation.
It is unfortunate that certain fans should have placed
such an unpleasant slant on the situation as S. Haigon,
of Rhode Island. I must confess that it is very dis-
illusioning not to receive a photo from a player one
admires, and when the usual quarter fails to hring re-
sponse one can hardly blame a fan for becoming angry.
Yet aren't we a little too hard on the players them-
selves? Isn't it quite possible that they never receive
our quarters? Isn't it quite probable that the money
remitted for photos goes into the pockets of the com-
panies to whom our favorites are under contract? Isn't
it feasible that a very popular screen star cannot, under
any circumstances, read all his, or her, fan mail ? Isn't it
credible that a player of the type, say, of Nils Asther,
coming as he does from a foreign land, is not really
interested in fan mail? Of course the fans think this is
rank ingratitude : 'Ah, yes, how could the dear fellow
ever forget his beloved public !" But does not "his
beloved public" forget him when he begins to lose his
box-office appeal ? It does — and how ! Isn't it logical
that the missing quarters get lost once in a while? And,
on the other hand, isn't it from the disappointed fan that
we invariably hear? I know one fan who has sent
quarter after quarter to screen players, and has never
once been disappointed in not receiving a photo. But do
\vc read her letter and the letters of the many others
whose relations with screen people have been equally
happy ? Only sometimes !
Of the letters which we fans write to Hollywood, per-
haps one fourth ever reach the players themselves. Have
wc a right to blame the stars, therefore, for faults of
which they are not guilty?
But, you say, if the players don't receive letters, why
don't they make arrangements whereby their mail will
be given sufficient care? The answer to this is found
in several reasons. For one, there are players who don't
give a tinker's dam what the fans think of them. Isn't
the box office a truer barometer of an actor's financial
worth than the letters from so-called admirers, who
are merely collecting photographs ? For another reason,
there are players who are simply neglectful, even as you
and I are neglectful, and forget to answer the letter that
came last week instead of giving it our immediate atten-
tion. But, of course, in a star neglect is a sin. In fact,
almost anything which isn't an absolute virtue is. For a
third reason, despite the fact that certain players have
made arrangements for the care of their mail, that mail
is not given the right attention. Have you ever hired a
man to do a certain bit of work, only to find it un-
touched the moment your back was turned ? Well, fans,
use your heads and parallel the two cases.
For still another reason, there are players who have
been bitterly disillusioned by the ofttimes insincere adu-
lation of the fans. Players who have come back and
who know what it is to be forgotten for months at a
time, with not a fan letter in the mail box. Can you
blame them for failing to be thrilled to the skies over
the raving of Polly Pickens, of Pepper Corners, Iowa?
And then there are the stars who have been tricked into
a hundred compromising situations by "phoney" letters,
stars who have become thoroughly disgusted by the
strange behavior of their so-called fan friends. Do you
censure them for lack of interest in their mail? Come
on, fans, wake up! Don't be so unfair to the poor
players. They have their side of the story, and it's quite
as logical and credible as yours.
There seem to be people who take a morbid delight in
trying to destroy the illusions which the fans have built
up and which give so much genuine happiness to those
who dream of the romance that only the screen can give.
It appears to be the thing for Hollywood fans to do
their best to debunk stars when they write to the maga-
zines. The recent letter of Kit Leyland is a superb
example of this sort of rubbish. We don't say that Mr.
Leyland isn't absolutely correct in the information which
he so kindly offers, but we should like to know his mo-
tives in attempting to shatter the dreams which many
fans have no doubt cherished. For, no matter how
sophisticated we may think ourselves to be, there is
much of the dreamer in each of us. Mr. Leyland looks
down upon the stars so successfully that we suggest he
fake a fling on the screen himself.
In closing, I should like to say a word in favor of
Picture Play's editor and reviewer, Norbert Lusk.
I have seen his name mentioned only once or twice in
this department, but he deserves commendation for his
sound judgment and delightful side-remarks. And,
Continued on page 10
Advertising Section
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Continued from page 8
thanks, Mr. Lusk, for that wholly compe-
tent and charming review of Novarro's
"The Pagan"! Richard E. Passmore.
Media, Pennsylvania.
Miss Compson's Loss.
A certain star has got my Irish up, and
I'm telling the world I don't like Betty
Compson. She was one of my favorites.
But after reading her life story, I think
she is the most conceited, selfish person
I ever heard of.
She says her father was dying with
tuberculosis, but she wouldn't go near him
because she was afraid of contracting it!
Afraid of marring her perfect beauty!
She says she has always known she was
beautiful. She was ashamed of her par-
ents, because they ran a grocery store
and later a boarding house, although
they were, she admits, doing it for the
money to educate her in music. She can't
stand children. When her father died she
was glad, because then she was no longer
a grocer's daughter.
There won't be any more of my quar-
ters buying tickets to see her. Some of
the fans will probably say "Her private
life is her own affair." That's true. Why
doesn't she keep it out of print, then?
Every magazine you pick up has some-
thing about the lovely Betty Compson,
but I don't believe she'll be popular long.
I don't suppose Miss Compson cares about
my opinion, or that of any of her fans,
but I know many people with the same
opinion. Unless she wants to lose more
admirers, I advise her to stop making her
real self known to the public.
Mrs. C. B. Matlock.
Waco, Texas.
Mercy! Buddy Conceited?
Until I read that most egotistical in-
terview that appeared in August Picture
Play, I had always liked Buddy Rogers,
but he will never get any place tooting
his own horn, so to speak. Yes, of course
we are interested in his love affairs, mu-
sical aspirations, et cetera. However, was
it necessary for Buddy to say, "Valentino
only got 16,000 letters a month, while /
get 2.3,000"?
Another objection. Buddy says he won't
get married, because his fans won't let
him.
Why, my dear child, no one cares what
you do in private life, for we don't know
that side of you anyway. All we are in-
terested in is the pictures you make, so go
ahead and get married and don't worry
about your fans 'becoming peeved, because
we. all know we haven't any chance in
capturing you, anyway.
However, I don't wish to throw too
many bricks, as I admire Buddy's acting
very much and, after all, that's all that
counts.
For Heaven's sake, Buddy, don't get
any more conceited, or I know one less
fan for you. Lucy B.
Lansing, Michigan.
Miss Pickford's Accent False?
Personally, I like the fans who knock
the movies. That sounds pretty bad, but
you do get so much help out of seeing
others find fault with the stars.
And now /'// do some knocking. How
on earth could any one pick Mary Pick-
ford for Southern dialogue? If that once
adored favorite had any touch of the fa-
mous Southern drawl in her voice — then I'm
from Mars. When the lamb was shorn then
— well, in plain English, Mary Pickford is
all up withJme. I'm looking right now at
a picture of her and her wonderful curls.
Wkat tke Fans Tkink
How could she part with them? Having
lived in Georgia all my life and only re-
cently come to North Carolina, I know all
about the way real, honest-to-goodness
Southern people talk. There are many
who will agree with me. I heard some
one rightly say that the cast in "Coquette"
sounded, when they spoke, like a crowd
of old-time negroes, or a band of back-
woodsmen. If refined Southern people
ever spoke like that, or ever will, let me
be dead when they do.
They say Mary Pickford is all worked
up over her triumphant success in "Co-
quette." Jove! people are peculiar. If
she only knew the feeling, the thought, of
the people who live in the setting of her
"successful" film!
Nan Chauncey.
Greensboro, North Carolina.
Buddy Topples — Billy Rises.
Until now Buddy Rogers has been my
ideal. Before reading the interview with
Buddy in August Picture Play, I had
always thought him a sweet, unassuming
youth, and surely not one to toot his own
horn. Imagine my amazement, then, on
discovering the erstwhile modest Buddy
to be somewhat of an egoist.
In the first place, he made a catty re-
mark about Charlie Farrell. Indeed, I
have seen none of Buddy's pictures win-
ning the gold medal as Farrell, a com-
parative newcomer, aided in doing for
"Seventh Heaven."
And then again, Buddy compares his
fan mail to that of Valentino. He should
remember that Rudy had only the silent
screen as his medium, while Buddy has
the advantage of winning many admirers
by virtue of his full, rich voice.
Perhaps I have misconstrued Buddy's
statements. I rather hope I have. I re-
alize that Buddy has much to be proud of
— youth, looks, and success. But he might
be a -little more subtle when he compares
himself with others.
Right now William Haines replaces
Buddy Rogers on my favorite's throne.
Dolores Vasholz.
Kansas City, Missouri.
Won't Some One Defend Alice?
It was unnecessary for me to sit
through any picture twice to discover that
Alice White cannot act. I saw her just
once, and such agony I never want to
suffer again. It doesn't speak much for
the intelligence of the fans if there is any
demand for her picture. I can't under-
stand her popularity at all, although there
may be a certain class of people who en-
joy seeing her.
Is it any wonder that girls come to
Hollywood? It isn't hard to convince one-
self that one could do as well and better
than Miss White. Off the screen — if any
one cares to know — she is notoriously
dumb. I could say- a lot more.
Dolores del Rio is fundamentally one
of the greatest actresses on the screen.
But that doesn't mean she can make any
kind of face and get away with it. It is
true that her one great performance was
in "Resurrection." With the opportuni-
ties she has had, no one but she can be
blamed for her mistakes. I have seen
almost every picture she has ever made,
in search of a glimmer of the divine spark
which gave such poignant and tragic
beauty to Katusha Maslova, but have only
become thoroughly disgusted instead. Do-
lores had better leave the cute capers for
a while and go back to real acting.
Crocella Mullen
Hollywood, California.
Too Busy for Clubs.
In the article entitled "Are These Your
Stars?" was mentioned the fact that the
stage recruits seem to have caused little
or no ripples, because no clubs had been
formed in their honor. Another quote from
the article is "After all, who are Jeanne
Eagles, Herbert Marshall, et cetera when
Charles Rogers and Nancy Carroll are
playing across the street?"
The entire article seems biased. It
seems that Radie Harris tried to arouse
prejudice against the stage stars who have
come to the screen.
As far as clubs in their honor are con-
cerned, I don't suppose there will be any,
for the simple reason that these stars ap-
peal to the class of people whose lives
are too busy to form clubs. These stars
have supporters in the mature classes.
Let us take Ruth Chatterton for an ex-
ample. What an actress ! I saw her in
"Charming Sinners." How I enjoyed the
character which she so gracefully made
live ! How her voice carried ! The house
was packed and every one seemed to en-
joy her equally as well as I, for I could
hear whispers, "Isn't she marvelous?"
"Isn't she clever?"
Although we recognize and enjoy the
work of an artist, have we time to foster
a club in her honor, or write fan mail?
No, because we are entirely too busy.
But when another Chatterton picture
comes, we'll be on hand to see it.
Mae Harris.
90 Edgecombe Avenue,
New York, N. Y.
No Longer Unhonored, Unsung.
We've all been praising and damning
— and not faintly, either — these creatures
called stars. Even those hard-working
people, the magazine writers, have been
spoken about now and then. But never
do I hear any one commenting, favorably
or adversely, about those poor, long-suf-
fering individuals, the film reviewers.
They exist in silent anguish through miles
of film, often atrocious, in order that they
may help guide us in our choice.
So, I select for this month's list of
adjectives, Norbert Lusk. Mr. Lusk is,
to me, the most intelligent reviewer on
any magazine. He does not pass off a
lot of smart cracks and slipshod piffle as
criticism. He adopts a workmanlike atti-
tude toward his reviewing. You feel that
he knows his business. Frankly, keenly,
with fine impartiality and fairness, he
analyzes pictures. Occasionally he brings
in a bit of grand humor.
Have you ever noticed how much he
knows about drama — tiny, fine points ?
Sometimes, when he allows himself to di-
gress, he gives really brilliant disserta-
tions on phases of drama. Note his ana-
lysis of so-called natural speech on the
stage, and the question of accent.
Of course, my frequently agreeing with
him may have a little to do with my ad-
miration. It has come to be a game with
me to see all the films possible before Mr.
Lusk does, and then compare my reactions
with his. And how we do agree! If I
miss a. picture he praises I am sorry, be-
cause I know that I would have liked it.
Ever since Mr. Lusk wrote long ago a
series of articles dealing with Mabel Nor-
mand, Geraldine Farrar, and all the fas-
cinating people of early film life, his work
has interested me. And I'm glad that he
has not let me down in this new work.
Although it can't be new — he knows too
much about it. Alice Clifton.
225 East River Street,
•Peru, Indiana.
Continued on page 12
Advertising Section
"The Only Gesture You
Can Make Is To Marry!"
Janet sillied without answering. She
gazed up into the eyes of her artist
lover. One man had offered her wealth,
another fame, and a third social position.
But in each case the offer carried a con-
dition which made it impossible for her
to accept it.
And this Leonard Quigg, with his
erratic, artistic temperament, was just
the type of man she had vowed she
•would never marry ! Yet she cared for
him probably more than any of the
others.
She hesitated and then
The next thing she knew Leonard
was kissing her, kissing her throat and
her closed eyes, and the crimson bowl that was her mouth.
"I love you, Janet," he was saying. "I love you. You don't know how sweet
you are, how r sweet "
But even after this, Janet wavered in her decision. The love game was too
fascinating, the offers she continued to receive were too tempting to be put aside
lightly for love of a musician.
Read the absorbing account of the love affairs of this fascinating modern young
woman in
The Loves of Janet
By THOMAS EDGELOW
This book is one of the famous Chelsea House New Copyrights — a line of
cloth-bound books — the equal in binding and make-up of many books selling at
$2.00. But the price is only
75 Cents a Volume
Go to your bookseller now and order your copy of "THE LOVES OF JANET,"
or, if he does not have it in stock, order direct from the publishers.
CHELSEA HOUSE, Publishers 79 Seventh Avenue, New York
12
Continued from page 10
In Memoriam.
Silence on the Warner set! The bugler
in the studio orchestra sounds taps for one
who has passed on. Gladys Brockwell, a
real old-timer in the movie racket and an
accomplished actress, has been taken from
us forever. But her fans will have mem-
ories which no one can take away. Such
pictures as "Stella Maris" and "The Home-
towners" are more than sufficient to make
her immortal in the memories of those
who have watched motion pictures rise
from the time Gladys Brockwell got her
start on the screen. She was the first real
actress with a soul. Let us pay silent
tribute to a wonderful artist.
Eddie Hill.
New York, N. Y.
Ah, Alice Is Defended!
Ye gods and little fishes, what on earth
has come over the fans, slamming my
favorite actress, Alice White?
Kathryn Snyder relates that Alice thinks
she is Clara Bow's twin. That shows
how much Miss Snyder reads the maga-
zines. There are interviews with Miss
White in which it was stated that she had
cried, because some one said that she
resembled Clara Bow.
I have never seen nor met Miss Snyder,
but I have my opinion of her. She hopes
that all the foreign players who come to
America will fail. I wonder if she has
seen Nils Asther?
And another thing, Joyce Alliston, of
Canada, says : "When Alice White was put
on the screen, it was just a case of add-
ing insult to injury; she isn't good looking
and she can't act." All I can say is, that
if you don't like her pictures, don't go to
see them. You won't be missed. Who
gave you the idea that she isn't good look-
ing? I suppose your idea of a choice-
looking girl is Polly Moran.
The only ones who have the authority
to take her off the screen are her fans, but
as long as Jacksonville, Florida, is on the
map, Alice White will be on the screen.
She is one of the biggest box-office bets
here. I know, because our closest friend
owns a theater.
Betty Harrison.
2225 Post Street, Jacksonville, Florida.
Eddie Dowling Gets a Hand.
Of all the stage stars who have ap-
peared in talking pictures, there is only
one I would include among my favorite
screen stars. He is Eddie Dowling. He
has personality, he has whatever it takes
to win the hearts of fans.
In my opinion, "The Rainbow Man" is
one of the best pictures to date, made so
by Eddie Dowling's sincere and stirring
performance, aided by Frankie Darro and
Marian Nixon.
I noticed, too, that Eddie Dowling not
only acted in the picture, but wrote the
story ; not only sang the songs, but com-
posed the music.
How I would love to shake hands with
Norbert Lusk, Picture Play's reviewer,
for expressing my thoughts exactly in his
review of "The Rainbow Man" and his
opinion of Eddie Dowling.
Here's to Picture Play for giving us a
picture of Eddie Dowling in the rotogra-
vure section of the August issue.
A. Herman.
723 East 8th Street,
Little Rock, Arkansas
Can't Clara Be Serious?
Let me say that I think Ruth Chatter-
ton's Madame X was the most exquisitely
human character ever portrayed on the
Wkat the Fans Think
screen. With her beauty and that thrilling
voice, she ought to go far. She is real
and human, and I believe that with "Ma-
dame X" to her credit she has placed her-
self high on the ladder of fame, and I
know I'm not the only one who thinks so.
What's the matter with Clara Bow?
Her interview in August Picture Play
was laughable, to say the least. She is
taking the wrong stand when she makes
excuses for her jazziness and love of life.
That "laugh-to-cover-a-breaking-heart" at-
titude sickens any one. We admire Clara
for her joyousness, her daring, and youth;
we love her for that, not her "nobody-
understands-me" pose. I suppose criticism
has troubled her, but she should remem-
ber that any one is criticized who is dif-
ferent and lives his own life.
Charlene Carol.
2230 Sixth Avenue,
Los Angeles, California.
Barthelmess' Doubling Upheld.
Two letters which appeared in "What
the Fans Think" slamming Richard Bar-
thelmess' singing in "Weary River" urge
me to come to his defense.
For years Dick has been my favorite.
I have stood up for him in spite of many
criticisms by the fans. And I intend to
say a word or two right now !
Why does every one think it so dread-
ful that a -double did Dick's singing?
Surely that was better than Dick singing,
if his voice was not suitable. His admirers
would have been disappointed if his voice
were poor and unappealing. And, be-
sides, that would have spoiled the picture.
I think Dick should be praised for the
clever way in which he »faked his singing.
Perhaps all his fans do not realize what
a really difficult task that must have been.
As to Barthelmess' "publicity act," that
is all foolishness. It shows how really
selfish the fans are becoming. They are
not satisfied with the age, height, coloring,
et cetera, of the stars. They must pry
into the home life of their favorites.
How annoying and unpleasant this must
be to the stars ! The fans demand to
know whether or not the stars are en-
gaged, married, divorced, and how much
salary each gets. This, to me, seems only
the affairs of the stars themselves.
Perhaps if the fans were to be a little
less curious and a little more considerate,
they wouldn't have quite so much trouble
receiving the pictures for which they write.
A True Barthelmess Fan.
Attention, Joan Crawford!
It is sickening and tiring to read the
unkind letters about Alice White. Just
what has Alice done to deserve the treat-
ment given her by the fans? I can hear
the answer to that question by those who
read this. They will say, "That's just the
trouble, she hasn't done enough to war-
rant her being on the screen." But I do
not agree. I enjoyed her performances
in "Show Girl" and "Naughty Baby" very
much. She is cute and peppy and while
of the same type as Clara Bow, she is not
similar. There is room for both these
girls on the screen, and I hope Alice gets
a better deal than she has been getting.
Also, all the yelling about the old and
new stars is rather silly. Why not like
them both? One fan cries for youth, the
other wants the older stars. My favorite
is Norma Talmadge, and I am pleased
to read that she' is making a talkie. It
will be a pleasure to hear her voice, and
she is at present looking younger than she
did five years ago. She is a vivid, re-
fined, charming personality, and I hope
she never retires. Just a word for Con-
nie Talmadge. Oh, come, fans, demand
her return. No other comedienne can give
the same inimitable touch that Connie can.
But don't think I don't like the young-
sters. I think Sue Carol is adorable, and
also Joan Crawford, Billie Dove, Anita
Page, and others are nice. To say noth-
ing of Charles Rogers! His voice quite
measured up to expectations in "Close
Harmony," and Nancy Carroll gave an
excellent performance. But then she al-
ways does. As Norbert Lusk said in the
August issue, "She's one of those rare
things on the screen, an actress."
I've been trying to figure out whether
the person who wrote the letter signed
Fraser MacDonald is really serious, or
just trying to be sarcastic. It is one of
the silliest letters ever published. How
can that fan let another person's opinion
influence his ideas? Has he no brains to
form opinion for himself? Whose business
is it, anyway, what Gary Cooper is like in
real life? Do these fans expect to get a
chance to go to Hollywood, and meet him
personally, that they are so worried for
fear he might not care to recognize them
after they get there?
I think the ruling that no more photos
be sent out, unless they are paid for, is
the silliest ever. We fans should not be
expected to pay for our favorites' pic-
tures. It is the least they can do for us.
And Joan Crawford had better watch her
step. It is deplorable the way she ig-
nores her mail. She won't have to bother
with it after a while— she won't have
any fans.
In answer to the fan who wrote for
Evelyn Brent's photo, and didn't receive
it, I wish to say that I wrote twice, en-
closing only a two-cent stamp, and both
times I received the photo. This was be-
fore the abovementioned ruling was made.
Another thing that is absurdly ridiculous
is the no-fan-club ruling at some of the
studios. It cannot possibly hurtthe stars,
because if a club is dishonest it is soon
found out. And to stop them from be-
coming honorary members of other fan
clubs is just plain mean, as it helps the
the other club along. I just hope some of
the stars break this rule !
Marion L. Hesse.
154 Elm Street,
Elizabeth, New Jersey.
Miss Chatterton, Yes; Miss Eagles,
No.
The article "Are These Your Stars?"
reminds me that, having seen in pictures
several of the stage actresses mentioned,
we fans owe it to these splendid actresses
to voice our admiration, so here goes!
Especially when I think of Ruth Chatter-
ton, to my mind the finest actress on the
screen to-day. Pauline Frederick runs
her a close race for genuine acting abil-
ity. She throws so much heartrending
feeling into her roles, Jhat her personal
beauty is always secondary to her acting.
I mean, in scenes where other actresses
would strive for mere beautiful effects,
such as Jeanne Eagels did in "The Let-
ter," Ruth Chatterton forgets self and
plays the person she is portraying so viv-
idly that she doesn't care whether she is
showing the best side of her face to the
camera! This is unusual and puts her in
a class by herself. Not only that, but her
voice is lovely. Its tones and depths of
feeling are wonderful.
I heard so much about Jeanne Eagels,
in "The Letter," that I went to see her.
I was disappointed — terribly disappointed
—first of all in Miss Eagels' voice, which
Advertising Section
\6
is entirely too stagey and affected. Sec-
ondly, I thought she overacted through-
out the picture. Not only that, but you
never forget for one minute that she was
acting. She was constantly striving for
best angles before the camera, and rolling
her eyes unnecessarily, spoiling scenes
tense with drama. The few, very few
indeed, clothes she wore were constant
reminders of her alone, never the person
she was playing.
Personally, I welcome the stage people.
They will give the movie stars something
to think about besides perfect profiles and
curled eyelashes! I am sick of both!
After you go and see a truly splendid
actress like Ruth Chatterton or Dorothy
Burgess, in "In Old Arizona," it makes
you glad the talkies came along to en-
liven an industry that was headed for
cheapness and imitation. Now we are
getting nearer the real thing.
F. Smith.
Los Angeles, California.
Boosting Kenneth Harlan.
There has been much discussion among
fans regarding the talkies. But the most
important issue to me is : Will the talkies
be fair to the screen players?
I have no complaint to make against
bringing to the screen such indisputably
capable stage stars as Raymond Hacketl,
in "The Trial of Mary Dugan" and
"Madame X." But I prefer to see and
hear the old favorites, whether their voices
be perfect or not.
Many screen players have taken a fling
in vaudeville and in plays during the past
year, and have been successful in being as
appealing in person as they had been in
silent pictures. Not long ago I was quite
thrilled by Harrison Ford in a play. Why-
has not some film magnate nabbed him for
the talkies?
A few weeks ago I had the pleasure of
meeting Kenneth Harlan, and also seeing
him in a vaudeville sketch. The act went
over big. He was encored again and
again. Mr. Harlan is a perfect type for
both stage and screen, if you ask me —
which you don't. Voice — very distinctive.
Looks — he is about the handsomest man
I've seen in many a day. And I can
vouch for his being unusually courteous,
for he strived to please even so unim-
portant a person as me.
Kenneth Harlan wants to get back on
the screen. Why he has been off it is a
mystery to most of us. I move that we
remember the man who gave us such re-
markable characterizations in "The Beau-
tiful and Damned" and "The Virginian "
some years ago. He is there with every-
thing necessary, even to having a follow-
ing of faithful fans willing to boost him,
not only when he is at the top, but when
he needs their support !
Olive D. Thompson.
Los Angeles, California.
Where's That Quarter?
Quite a while ago I wrote to Barry
Norton for his picture. I've always ad-
mired him and always will, but why, oh
why, Barry, don't you send it? What
arc you going to do with my quarter?
The way stars treat their admirers de-
termines their popularity, to a certain ex-
tent, and shows whether or not they are
as interested in the public as the public
is in them.
When I send a quarter I want a photo-
graph ! L. Currier.
618 West Twenty-fourth Street,
Oklahoma City, Oklahoma.
Continued on page 103
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13
PICTURE PLAY, November, 1929 Volume XXXI Number 3
John Gilbert chooses Continental comedy for his new picture. "His Glorious Might," which brings about the debut of
Catherine Dale Owen, of whom we shall see much, because of her reputed success as Jack's vis-a-vis.
Here she is seen as Countess Tina Orsolini, at last in the arms of Mr. Gilbert, as Count
Kovac, who, posing as a swindler, succeeds in winning Countess Tina away from her
fiance and. like a truly Gilbertian lover, against the will of the lady a> well.
16
Tkeir Actions
Oh
an
The idiosyncrasies and the extraordinary
proclaim them to be not like ordinary
attracting attention. You will enjoy this
side lights on the private
B$ William
ACTIONS speak louder than words.
A genius is known by his actions.
The Russian ballet couldn't do without
action — although one might be forgiven for
believing the performers not quite sane, espe-
cially in a presentation such as the "La Maison
de Fous."
What am I talking about? I'm trying my
hardest to lead up to my topic — the strange
actions, idiosyncrasies, and extraordinary be-
havior of the geniuses of filmland. They prove
to the onlooker that a genius can never be like
an ordinary individual.
If one be ordinary, it seems one is not a
genius.
It seems, also, that a genius can let his mind
become possessed by the character he portrays,
just as eccentric people in ancient times were
often described as being possessed by a devil.
For instance, John Barrymore, in "Doctor
Jekyll and Mr. Hyde," ac-
tually made audiences be-
lieve he was a crazed crea-
ture when playing the latter
character. So much for
what genius can do !
John has been labeled a
An artist sees,
feels, and hears
things not re-
vealed to an or-
dinary person,
says Jetta Gou-
dal.
Photo by Ball
genius because of his stage
talent. Some of his screen
work has also reached heights. His roles
are always colorful— yet few, perhaps, are
as striking as the great Barrymore himself.
The Barrymores — Ethel, Lionel, and John
— are the Barrymores, as everybody knows.
Edna Ferber's play, "The Royal Family," is
said to depict them en famille. True, or
false, the title is good. Royalty, in ye goode
olde days, dwelt much on the divine right
of kings. A king could do no wrong.
However peculiar his actions, he remained
always a king.
So it is that one might say, "John can do
no wrong." I am sure John is a firm be-
liever in this himself.
Once, at a Pasadena restaurant, Barry-
more and his then fiancee, Dolores, her sis-
ter, Helene, and a friend, arrived for dinner
one evening, after the hotel dining-room had
been closed.
What to do ? The ordinary person, of
course, would have dined at the proper hour,
or, seeing the dining room barred, would
have left and bought a hamburger, or a hot
dog, from a roadside stand. Not so the
royal Barrymore.
Strolling to the desk, John struck it twice
with his open hand.
17
Speak Louder
Words
behavior of the geniuses of Hollywood
mortals, content to go along without
amusing article, which casts revealing
conduct of the gifted great.
H. McKegg
"Do you know who I am?" he imperiously
asked, in the tones of Hamlet. Before the
startled clerk could say "The Prince of Den-
mark," his questioner added. "I am John Bar-
rymore, and I intend to have my dinner in this
restaurant to-night !"
Had he said, "I am the Angel Gabriel, with
three companions of the heavenly host," the
management could not have abased themselves
with more servility. The closed dining room
was flung open to John and his gnests, who
entered therein with true royal mien. And
wine was presented, almost as a votive offering
to one not as other men.
While talking of food — Mr. Barrymore will
frankly tell the entire room what he thinks of
each dish. If it be good, he will say, "This
is fine!" If not so good, John
declares it tastes like — well, he says what he
thinks it tastes like, though how he knows is
beyond me.
Yet as a gourmet of epicurean taste, I don't
think John should be accepted as an authority.
He has a preference for garlic and olive oil.
Whatever dish he or-
ders, he has served with
it several cloves of gar-
lic and some oil. He
crushes the fragments
of garlic in the oil, and
pours the lot over his
salad, or meat !
When an ordinary
person buys a new coat,
he dares hardly wear it
for fear of marring its
newness. Not so J. B.
Once he bought an
expensive camel's hair
coat. He did not like
its newness, so what
did he do? Placing the
coat on the garage
driveway, John kept
treading on it — doing
something like the
"Varsity Drag," to give
the garment an antique
look.
An impossible act on
the part of an ordinary
If Eddie Nugent ever
becomes a genius he
will be the last to know
it.
l'holo by Louise
liv T.ouise
Religion and acting are dominant factors
in Ramon Novarro's life, surely the in-
congruous mixture of genius.
person, you say — but on the part of a
genius? "Aux grilles rietl d'impos-
sihlc!" as the great Goudal would de-
claim.
The really great are of course given
much latitude by all ordinary individ-
uals: but it does nut do to act like a
genius, unless you are one.
Xow, I have met David Xewell only
once for a very brief while. Yet his \
seems to crop up wherever I go. < hie
evening, visiting friends at the Mayfair
apartments, I was startled to hear a
voice exclaim. "Whom do you take me
for? I am David Xewell. under I
tract to Paramount, leading man f«>r
Clara Bow." And the shouted state-
ment- that followed had something
do with dining out.
18
Tkeir Actions Speak Louder Tkan Words
When Jeanne Eagels says she can't act to-night, she
means she won't act to-night.
Again one evening I. was dining with the same
friends at a newly opened restaurant on Hollywood
Boulevard. Tables were in booths. Suddenly, from
the next booth, I heard a voice say to the manager,
"Do you know who I am?" The manager evidently
didn't. So the voice informed him. "I am David
Newell. I come here every evening. I'm a good
customer. I've asked for sweetbreads for I don't
know how long. Never can I get anything I ask for.
Why, I've asked for sweetbreads over and over again."
Mr. Newell, of course, had to take something else
on the menu. And I doubt if the management ever
bothered to obtain any sweetbreads — "the smile of the
calf," as the French call them.
Compared to Barrymore, Mr. Newell's complaint at
the restaurant sounded like a grasshopper competing with
an elephant, in asking for sweetbreads for I don't know
how long. Yes. sir — only the really great can't be ordinary
and get away with it !
I have always deemed Ramon Novarro very versatile,
though, as every fan knows, he has had little chance to
reveal it.
Many admirers rank Novarro a genius. I admit that
in this talented young Mexican there are the attributes
of one.
He appears to be an embodiment of a soul seeking both
religious heights and theatrical acclamation.
"Ramon used to be a great philosopher, writing the
truths of life," a fair, young player once
murmured, as if saying an "Ave." I
looked blank. She smiled dreamily and
added, "You don't understand me. I'm talk-
ing of Ramon a thousand years ago."
Thus you see why Novarro is not an
ordinary individual !
Not content, so we are told, with his
movie fame, Ramon wishes success as an
opera singer. To my ears, his singing in
"The Pagan" offered little possibility for
operatic triumphs. Maybe the recording
was bad. But Ramon's voice will have to
be a far greater one, before he bursts forth
singing in the spcrrsitze of the Royal
Opera in Berlin, where only the world's
greatest are heard.
Then again Mr. Novarro seeks religious
meditation. Does he hope to find any in
opera? I can tell him now he won't.
What I know about opera companies !
Among religious relics, altars, candles,
and peace in his home, Novarro has also
his Teatro Intimo, where he stages plays
and sings and dances. Mixing these things
together seems incongruous.
Yet why not ? Saint Augustine patron-
ized the theaters of- Rome, where
jpL the Cecil DeMilles of their day put
\ on huge spectacles, and old first-
i 4»» ** ' nighters described the million-dol-
lar shows with all the rhapsody of
\ ^X; modern fans.
Is Novarro a reincarnation of
Saint Augustine ? The
gentleman was holy, but
evidently admired the the-
ater. His eulogies, in
Latin, cannot be quoted
here, but they exist as
truly as Ramon.
He remains a recluse,
shunning the crowds and
the emoluments of fame.
Religion and acting are
the dominant factors in
his life. I have often
wondered if he so desires
the first, why does he not
eschew the notoriety of
the other ?
Ramon keeps to both.
But then he is no ordinary
man.
Seeking enlightenment
on this genius topic, I
went to Jetta Goudal. I
felt assured that my visit
would not be in vain.
And, to a certain extent,
it was not.
Looking like Cleopatra,
and talking like Hypatia, Jetta
said, "You cannot compare a — •
well, I shall say an artist — with an
ordinary person. There is no
comparison mentally. An artist —
or a genius — cannot be normal.
By normal I mean average, one
John Gilbert deserves praise for
being honest in his utterances, at
least.
Tkeir Actions Speak Louder Than Words
19
going according to rule. All real artists — or
geniuses — are abnormal."
La Goudal closed her enigmatic eyes and re-
laxed, her slender hands resting on the carved
wood of the Louis Quince chair on which she sat.
I took it that Jetta was getting in touch with her
innermost mind. Suddenly she opened her eyes,
instantly disconcerting me, as she continued.
"A painter does not see flowers, trees and col-
ors as the ordinary individual sees them." She
curved a sculptured arm toward an old, silken
tapestry. "The ordinary person, looking at that,
would see only the colors you see. A painter
would immediately see the spirit of the pattern,
the various tones in each different hue."
I vainly tried to find tones in the hues, when
la Goudal remarked, "An artist, a genius — which-
ever you like — is first of all true to himself. He
will not do what his inner self tells him is not
correct or right for his abilities. He sees, feels,
and hears things differently — with a far keener
perception — entirely above the senses of an ordi-
nary person."
The throbbing Goudal voice dropped down a
tone, gradually increasing in crescendo as she
said, "Were I to force myself to do something
that went against every fiber of my artistic senses,
I would be false to myself — no longer an artist,
but a puppet."
Jetta has been called many things by her an-
tagonists. Her recent legal difficulties with Cecil
DeMille have been well aired. Yet I must call
attention to the fact that the judge said that a
real artist could not be expected to do the things
expected of an ordinary person. That judge
knew something. But he might have said
"genius" — for such is Jetta Goudal in more ways
than one.
Jeanne Eagels is evidently an ardent admirer
of la Goudal's acting. Some time ago she wrote
an article called "Jetta and I," describing how
artistic natures differ from the average. This
occurred when Jeanne had
just been temporarily ban-
ished from the stage by
Equity, and Jetta was
fighting in the courtroom
for artistic justice.
Miss Eagels is said to
be very temperamental.
And why not? She is an
artist to her finger tips.
So true to herself is
Jeanne that she absented
herself from a few per-
formances of a play. But
if Jeanne says, "I can't
act to-night," she means
she won't act to-night.
That's all there is to it.
But so much of an ar-
tist is Miss Eagels, that
she should be permitted
the grace of genius and
allowed to act when she
pleases.
Jeanne throws tempera-
Charlie Chaplin is the dean
of Hollywood's geniuses,
being the first to be pro-
claimed one.
A newcomer to Hollywood, David
Newell believes in introducing him-
self in public places.
mental fits, because she generally
puts too much of herself into her
roles. Jetta only revolts when
things go against her artistic princi-
ples.
Charlie Chaplin is a genius, and
acts like one.
Well, what Charlie doesn't do!
Entertaining- guests, he will start
Continued
20
Tke Battle of tke Accents
It rages in Hollywood between stage players and film stars, and never the twain shall meet — in
speech at least.
By Elsi Que
p, ty-\ ^ I '' \ ik x * *' ***>, ££\ Illustrated by Lui Trugo
FIGURATIVELY speaking, the streets of Holly-
wood are running with gore. Under the chamber-
of-commerce blue of the California sky, a World
War in miniature is being fought amid the awful silence
of what are paradoxically known as the sound stages.
The Battle of the Accents has been raging for months,
with terrific casualties and, at the present writing, with
hope of a decision.
Established film favorites, seeking strength in union,
have adopted the war cry of "The Three Musketeers,"
"All for one, and one for all" — this alone indicates the
seriousness of the situation — and are massing for defense
against invading stage forces.
Stars and interviewers have come to grips in a minor,
but spirited, engagement. The producers have a hand
in each of these conflicts, and in their spare time are
fighting each other. And still our marines remain in
Nicaragua !
The Battle of the Accents is of first importance, be-
cause the fate of so many once near and dear to us
hangs on the outcome. Are the talkies to go British, or
remain Ammurican?
Most of the stage-trained players speak British Eng-
lish, or something approximating it. The filmites speak
shade of Ammurican to be found between the
every
two oceans and the Canadian
Compare, for instance, the
luscious Tent' Avenoo intona-
tions of Clara Bow, or the
husky, corn-belt twang of
Buddy Rogers, with the brittle
enunciation of Jeanne Eagels,
or the subdued, cultured drawl
of Raymond Hackett.
We are told that before the year
is out, even the remotest hamlets
in the United States will be wired
for talking pictures. In which
case there must be a place on our
screens for all types of speech —
the cultivated, and the wild, or
natural, variety.
But from across the seas, from
the mother country, has come a
refined yelp of protest. British
ears are not to be affronted by any
but the purest English as spoken
in the right little, tight little isle.
It is bad enough to have to look
at these vulgah Yanks, as they
have been doing for yeahs, without
having to listen to the offensive
argot that passes over here for
speech.
Such, in essence, is the opinion
and Mexican borders.
Old Europe
looks upon
Uncle Sam as
uncouth,
young giant.
of John Maxwell, chairman of British International Pic-
tures, the most important film organization in the land
from which we severed all but friendly relations back
in 1776.
Mr. Maxwell believes that the English language,
through talking pictures, has a good chance of becom-
ing the international language. But, he insists, it is to
be "English English"— not "American English." He
cites, as a reason for his belief, the fact that large num-
bers of English actors are being employed in Hollywood
studios.
Perhaps it is unkind to suggest that this handful of
missionaries may succumb to the virulent American
idiom, before they can get very far with their good
work. Maybe they have been inoculated against it.
So far there is little indication that American pro-
ducers are frightened or depressed by British diatribes
against our accent.
On the other hand, there is plenty to indicate that
European producers are fearful of our influence. They
are bestirring themselves over there, as never before.
Combines, mergers, suits having to do with patent rights,
and countersuits are being rushed into, all directed
toward one common end — to keep Europe from being
dominated by the American talkie, as it was by the
American silent movie.
It is rumored that the largest movie concern in
Britain has combined with the largest and pioneer,
German talkie enterprise ; that a five-million-dollar
company has been formed to develop the talkie
held in England, in conjunction with a fifteen-
million-dollar concern in Germany to exploit the
Continental field.
There is more back of all this than mere com-
mercial enterprise and business acumen. Europe
is really afraid of us — afraid that our manners,
customs, and attitudes toward life will be forced
upon her rising generations.
Americans in general have little idea of the
distrust and prejudice with which many of
our institutions are regarded by middle-class
Europeans.
This unwelcome American
invasion seems, to endanger
not only their cultural integ-
rity, but the very foundations
of their national life.
So the Battle of the Ac-
cents, although it may seem
amusing to the United States,
clumsy, exuberant, uncouth
young giant that it is, is a seri-
ous matter to old Europe. She
is watching us with anxious,
hostile eves, like an ancient
The Battle of tke Accents
21
grande dame whose precious bric-a-brac is
threatened by a visiting neighbor child.
Second in importance, but of equally ironi-
cal significance, is the clash between Holly-
wood's nobility and the invading stage forces.
The "profession" has always looked upon its
hybrid offshoot, the movies, with a jaundiced
eye. And no wonder. To spend a few weeks
on the Coast was often to arouse envious and
antagonistic feelings in the breasts of stage
people. Here they saw mere chits, of both
sexes, Rolls-Roycing from magnificent Beverly
Hills estates to the studios, where their daily
labor seemed to consist of nothing more ardu-
ous than registering emotion prettily. For
which they received weekly pay
checks of staggering proportions.
Clever, talented perhaps, beau-
tiful certainly, these fortunate
mortals called themselves actors
and actresses. And the world ac-
cepted and applauded them as
such. That was where the rub
came. That was what seemed un-
fair to the visiting Thespians. Ac-
cording to the exacting standards
of the stage, not more than half a
dozen movie stars could qualify for the honorable title.
Yet here were girls like Billie Dove and Olive Borden
enjoying the perquisites of stardom, showered with
wealth such as Rachel and Bernhardt and Duse never
knew.
The movie-trained public seemed perfectly satisfied
to watch Olive gambol through stories written around
her exquisite legs. And so long as Billie, and half a
dozen others of comparable pulchritude, could smile
and weep with photographic sublimity, who cared
whether or not they had dramatic ability?
When important stage productions made Los Angeles,
the picture stars, of course, turned out en masse. But
it must have been rather irksome to the legitimate .play-
ers to find that at least half the audience had come to
view the local celebrities, rather than the visiting ones.
Advertising such as this must have been annoying:
"Come and see the stars to-night at 'The Shanghai Ges-
ture.' with Florence Reed." Or, "Your favorite movie
star will be in the audience at the opening of Duffy's
El Capitan Theater, to see Ruth Chatterton and Ralph
Forbes, in Michael Aden's smashing New York hit,
The Green Hat.' "
All was sweetness and light, on the surface. The
visitors were made much of by the picture crowd — if
they didn't stay too long. They were taken about and
shown things.
But underneath the pleasant exchange of compliment
and courtesy lurked criticism like a double-edged knife
sheathed in velvet.
The stage stars exclaimed over everything. Holly-
wood was wonderful.
Behind a highly manicured hand Hollywood
stage players.
giggled
same order. So-and-so was a fair actn
but my dear! Such clothes! And -h< cer-
tainly wouldn't stand up under a Camera test.
Too bad they had to lose their youth and
looks, before they could amount to much
on the stage. Behind a highly manicured
hand. Hollywood ' at the creaky, old
theater, and its creaky, old players, with
their audacious assumption of superiority.
Jut what a change the talkies have
wrought! Tt is the theater's turn to crow —
and how it is crowing !
There is no more striking i -ample than
of Ruth Chatterton. V yd no
punster ha- ever
played with that
famous name,
but Ruth'- chat-
ter has certainly
become on* of
the most signifi-
cant and impor-
tant sounds in
the modern I'a-
bel-on.
Holly wo, id
saw her first in
the stage version of "The Green Hat," in which she co-
starred with her husband, Ralph Forbes. Tin- play
opened at one of the film town's most garish theaters
and was enthusiastically received. Both -tars wire ac-
claimed — praised to the skies. But it was Ralph, with
his impeccable profile, who got the fat movie contract.
Ruth — well, Ruth was a wonderful actress, of course,
but as one interviewer has lately said of her "none of
her features really fits." A wonderful voice. pois« . and
that distinction vulgarly known as "class." could not.
in the en. just passed, offset the lack of camera beauty.
After the run of "The Green Hat." she slipped into
obscurity. Hollywood sucked Ralph Forbes into its
maelstrom. His wife remained safely moored in the
backwaters. The figurative rift between them became
actual, as his success increased. They occupied separate
domiciles, but met occasionally in a friendly way. Ruth
appeared in one or two silent pictures, and was damned
with faint praise by the critics. Ralph, on the other
hand, whose dramatic talents were never equal to hers,
began to receive much fan mail. Languishing ladies
from Oshkosh to Oslo were taking favorable notice of
his virile, blond comeliness. He was riding on the crest
of his natural permanent wave.
Then came the talking pictures, and of all the aston-
ishing changes wrought by the new order, none is more
astonishing than the reversal of
positions in the Forbes family.
Ruth has emerged as the fore-
most actress and nothing can
stop her now. [Cont. on p. 92.]
the men were devas-
tatingly handsome, the
women beautiful. And
the most astonishing
part of it, they often
added, sotto voce, was
what the cute, pretty,
little sap-headed be-
ings could get away
with !
Private comment
among the picture
stars was of much the
Stage veterans saw mere chits Rolls-Roycing to the studios
22
David Rollins confesses that he gets quite a kick out of a piece of angel cake, or looking at jewelry
in shop windows.
OK, DaVie, BekaVe!
David Rollins, at twenty, hasn't quite found himself and is undecided whether to be whimsical, or aloof
and mysterious, but until he does decide he succeeds in being thoroughly engaging and rather touchingly
adolescent.
By Samuel Rickard Mook
All Photos by Kahle
"Youth is a period of great, of very great, difficulty. Life
swarms at you, storms at you, and you aren't equipped to meet
it. You don't know what to do. You don't even know what it
is that is going on within you and about you.''
Samuel Merwin.
FOR a person who can read between the lines, the
foregoing paragraph sums up David Rollins better
than a volume could. Reticent, reserved, diffi-
dent to the point of timidity, high-strung — adolescent.
He was born in Kansas City on September 2,
1909. While in high school his parents migrated
to California, where his father bought a farm just
outside Glendale and David finished his schooling
there. His job on the farm was tending goats.
One never thinks of David Rollins as an average
boy, enjoying an average boy's pleasures —
baseball, basket ball, dancing. One thinks
of him, rather, as lying beneath a tree, his
arms folded under his head, staring up into
the sky, a dreamy look in his eyes
and his thoughts as far away as
the clouds.
He is terrified at the thought of
meeting people. I have seen him
cross a street to avoid passing two
men he knew who were engaged
in conversation and who he feared
might not notice and speak to him
if he passed, or who might think
he was trying to force himself
upon them it lie spoke.
I have known him. a number of times, to sit in his
room with the telephone ringing for fifteen minutes at
a stretch, without making the slightest effort to answer
it, for fear it would be some one who didn't interest him.
In fact, he answers his phone so seldom, the studio has
given up trying to reach him by that means. Messages
for him are usually left with his sister elsewhere.
He seldom goes out at night — particularly to parties.
"Most of the boys and girls I know like a drink or two,"
he says. "I don't drink, so I
feel I haven't much in com-
mon with them. Nothing
wrong with their drinking if
they like it — I just don't hap-
pen to care for it.
"Girls are pretty much all
alike after you've known 'em
about a week. I go out with
Nancy Drexel more than any
other. We have a lot in com-
mon and we understand each
other. But I'm afraid to see
too much of her, for fear I'll
find out she's just like the
others.''
'You and Sue Carol and
Nick Stuart seem to be pretty
friendly," I .'aid.
"Yes, we are. They're won-
derful to me. I've worked in
four pictures with Sue and
David once
tended
goats on his
f athe r's
farm.
\
OK, Davie, BekaVe!
23
three with Nick, and we nearly always have a good time when we're
out together, hut they have each other — that's about all they're
interested in. I'm an outsider, no matter how friendly they are."
It is hard to get him talking. When he does talk, it is usually
in desperation lest he be thought stupid if he doesn't. Occasionally)
in a sympathetic atmosphere, he talks — talks incessantly. Words
come tumbling out of his mouth, fairly tripping over each other.
It is in rare moments like these that you get a glimpse of his real
self.
To come back to his goats — or his father's. "I finished high
school and thought that life should hold something more for me
than goats, so father and I went to the mat on the subject. We
had a terrible scene. He called me all sorts of names and I left
home. At that time my sister was married to an army officer and
I went to live with them. I got a job in a bank as messenger.
Then, after a while, I was taken out of the messenger department
and put on the adding machines. Then summer came and my
brother-in-law. Major Headache, thought I ought to go to the
civilian training camp.
"If I went, it meant resigning from the bank, as they wouldn't
let me off that long. I wanted to go and he thought it would 'be
the making of me' — whatever that means — so I went.
"When that was over, I came back to Hollywood. I hadn't a
job, so my sister suggested that I try the movies. I laughed at her,
but nothing else came up, so finally
I went out to Universal to try my
luck. They registered me and, a
few days later, called me for work
on. the 'Collegian' series. Calls
began coming in pretty regularly
— three or four times a week, al-
ways through Central Casting Bu-
reau, of course. Finally Central
called up and wanted me to come
down there. They said they real-
ized I had been getting pretty
steady work from Universal and
thought there must be some reason
for it. When they saw me, they
thought I'd be a good type for col-
lege pictures and promised me
work at the other studios.
"A dreamy look in his eyes and his
thoughts as far away as the clouds."
Despite his outward gayety, the
interviewer thinks that Mr. Rol-
lins has never had a close friend.
"Finally I was called to Fox
to take a test for 'Cradle
Snatchers.' I didn't hear any-
thing about it for a long time,
then I heard that Arthur Lake
had been given the part. I was
sick about it. but my sister said,
'If you are going to stay in this
business, you might just as well
make up your mind that you're
going to have disappointments
— lots of them. Let's go down
to the beach and have a good
time and forget all about it.'
So we went down there and had
a swell time and came home and
there was a call from Fox to
report for another test.
"When I got out there. I
found it was for the sympa-
thetic part in 'The High-school
Hero.' David Butler, the di-
rector, looked me over and called
I've got to test a lot of people for this
I like your looks and I'm going to do
I've got anything to do with it. you're
And I did. And when it was done, I
got some nice notices and a five-year contract from F<
He paused a moment and rushed on. "Gee, it's funny ! I make
more, now. in a week than I made at the bank in a month, and that's
less than two years ago and yet, somehow, even with all this inert
income, I have trouble making ends meet and I'm not extravagant
either, do you think?" I had to confess T didn't.
"You see, my sister and her husband separated and I help her and
her two children. And I help my mother. And I have myself to look
after. We all live modestly, but we get by."
Half jokingly I asked when he was going to get a new car. David
surprised me by his answer. "Not until I've got the money in the
bank to pay for it. I've just finished paving for Clara "
"Who ?"
"Clara — my old coupe. I admire [Continued on page 104]
"Girls are pretty much alike after
you've known them a week," says
David.
me to one side and said, 'Now,
part, but don't be discouraged,
everything I can for you. If
going to play in this picture.'
24
Come On, Let's Sing!
The once-mute picture colony enters with gusto into the development of its singing voice now
that the song is the thing, and this authoritative article gives intimate glimpses of the stars at their
lessons as well as side lights on their teachers.
By Elza Sckallert
THERE is no question about it, Hollywood is be-
conaing cultured. And with a vengeance !
The highest social grace any one may possess is
an interest in music.
The more one knows about Herr Ludwig von Bee-
thoven and the less about Paul Whiteman the better.
The only "out" for being on intimate musical terms
with Whiteman is the knowledge that he is a good mu-
sician, besides being a "King of Jazz," and that for years
he was one of the first violins in a symphony orchestra,
where Brahms and Bach and Mozart and Tschaikowsky
were friends and not enemies.
The talkies are to blame for this state of affairs — for
Hollywood's artistic milieu. Because, with their advent
into the realms of literature and music, there followed
to the Western metropolis the greatest influx of Broad-
way's celebrated authors, actors, and actresses, writers
of melody, headliners of song, musical comedy favorites,
and even artists of concert and operatic stages, that the
world of entertainment has known.
In a way, the Broadway regulars and reserves have
been a veritable army of invasion into a territory that
had been exclusively occupied for many years by the
sons and daughters of pantomime. They have been
charming and talented invaders, but they have stirred up
a fight for survival among the Hollywoodites, none the
less.
The film colony's battle for self-preservation has re-
sulted in numerous casualties and complete annihilation
in some instances, but
the scars have been all
to the good. Because,
for once, Hollywood's
eyes have been opened to
broader vistas of effort.
The players have come
to realize that there is
something beyond the horizon of flickering shadows, and
that they, in turn, must invade and conquer new worlds
— the worlds of the spoken word, and of song.
The days when the height of aesthetic achievement was
the triumphant ride through town of Tom Mix in an
oversized Rolls-Royce, with liveried chauffeur and foot-
man, and luxuriating in plum-colored evening clothes
and sweeping, white sombrero, are gone forever — no
more to return.
Hollywood is now giving more attention to the inside
than the outside. Beautiful stars aren't content any
more with their merely pictorial personalities. They
really and truly want to learn how to act, how to articu-
late, how to give the meaning to a word that they have
in the past given to a gesture, so that their sisters of the
stage cannot steal their thunder.
They want to learn how to sing, so that they may
beautify their speaking voices, or better still, that they
may be able to sing when a part in a talking film calls
for it. They do not want to resort to a double, as some
stars unfortunately had to during the past year. The
effect of this doubling has been very bad for the star.
Audiences have resented it. They have felt that some-
thing akin to cheating was put over them.
The stars that have survived the old order are also
anxious to learn about music — piano, for instance — so
that they may hold their stellar places in the new social
life of Hollywood and enjoy the evenings which are
given in great part to music. The big games of charades
and ping pong are not prime at-
tractions any more.
We come to this. Hollywood
has been the playground and the
workshop of naive children who
have outgrown their toys and
their clothes. Now they have to
get down to the serious business
of growing up and sticking their
Otto Morando,
Bebe Daniels'
teacher, is some-
thing of a
martinet and
the fame of
his pupils
means noth-
ing to him.
Come On, Let's Sing!
25
heads between hook covers,
and not the latest best-seller,
either.
And so 1 Iollywood is taking
its first singing and piano les-
sons. And the result is a
spirit and an enthusiasm that
are positively glowing. Hol-
lywood has touched a world
that heretofore has seemed ab-
stract and forbidding. It is
humming in the mike, in the
sunshine, in the rain. And the
voice teachers are thrilling, and
also handsomely thriving, be-
cause they have a new group
of fascinating, earnest stu-
dents, who have enough money
to pay for the inflated price of
lessons.
Oh, yes! Singing's gone up
in price considerably. There
are two or three teachers with
impeccable standing, whose
rate scale has remained static.
But they are the exceptions.
They are highly ethical. But
there are others who never
topped $3.50 a lesson in their
lives, who have fitted up arty
studios, encouraged goatees,
have placed dozens of uncut
volumes expounding "the fine
art of singing" all over their
salons, and then jumped their
prices to $10 'a half hour, and
in several instances to as high
a- S2^. Ten lessons are al-
u ays paid for in advance.
( )ne teacher who is flourish-
ing in this musical bonanza
told me, "I heard that film
people are poor payers, no
matter how much money they
have, so I make them pay for
their lessons in advance."
Maybe she's right. But her
lessons are too high. Much,
much too high.
1 tow to find the right in-
structor has been the cry since
the Italians fostered the school
of bel canto, two hundred
years ago. In no other branch
of music is there as much
quackery and bunk as in sing-
ing. It has always been so.
It probably always will be. Each teacher savs he or
she has the right method. At the end of a year most
pupils, who started out with fresh, lovely material, can't
sing five round, beautiful tones. So you can't blame the
film people for choosing wrong teachers, as many of
them are doing. The history of every prima donna has
been a long list of poor teachers. But somehow they
manage to sing, for a few years at least.
There are two surprises awaiting fans who are still
devoted to old favorites. They are going to be thrilled
with Gloria Swanson and Bebe Daniels. Both have tine
natural voices. Gloria has a lovely, lyric soprano and
Bebe has a warm, sympathetic mezzo.
Gloria sin^s a snatch of a lilting serenade in her latest
picture, "The Trespasser." It is incidental to the action
Gloria Swanson's lyric soprano will be heard for the first time in "The Trespasser,"
in which she sings snatches of a lilting serenade as a hint of what she will do in
subsequent films.
of the story, hut it is a tip to fans that some time in the
future they will hear Gloria sing, perhaps in a role that
calls for singing exclusively.
It was almost two o'clock one morning when I heard
Miss Swanson make the singing scene in her picture.
I was greatly surprised by the charming quality of her
voice. Of course, it has been one ni the cherished
dreams of her lift- to he a sing* r. Very few i pic- know
that her coming to Hollywood fourteen was
not for the purpose of embarking on a film career. She
was looking for a voice teacher to continue the less
that she had started in Chicago. It was a twist of fate
that a letter of introduction which she carried to Mack
Sennett resulted in her becoming a bathing girl, and
one of the most glamorou the sen
26
Come On, Let's Sing!
Bessie Love, seated on piano, Gwen Lee, Carmel Myers
pupils of Lillian Sloane from whom they take
Miss Swanson is seen quite often at the opera. There
has always been, in my opinion, something about her that
suggested a prima donna. She is not like Mary Garden.
And yet she is not unlike her, in respect to pictorial
effulgence, and magnetism, and something vaguely sug-
gesting manner. Of course, no-
body could be quite like Garden.
There isn't enough vitality in two
exceptional women to match one
fourth of what the dazzling Mary
has. On the other hand, there is
nobody quite like Swanson. And
it wouldn't surprise me in the
least if some time in the future
she embarked on an operatic ca-
reer. She would fit well into
French opera. It's a long, te-
dious road to get there, but
Swanson has the advantage of a
big reputation ; she has native
talent for singing, a great love
for music ; she is young, and she
has, above all, learned to disci-
pline her mind, which is nine
tenths of the battle.
Gloria has been studying with
a teacher by the name of
Mark Markoff . She brought
him West from New York
solely for that purpose.
A story appeared in the
newspapers recently, saying
that Miss Swanson was plan-
ning to give a recital in Los
Angeles in the fall, probably
to prove that she is not hav-
ing a double appear for her
in pictures. It is reasonable
to presume that the report is
highly exaggerated, consid-
ering the length of Miss Swan-
son's study, and so forth.
Bebe Daniels is an amazing ex-
ample of what a well-disciplined
person can accomplish in almost
any field. Bebe received the big-
gest acting-singing plum of the
year when she was cast for "Rio
Rita." She determined to learn
how to sing so that she would
have no double. The result is
that in less than six months of
serious, intelligent study, she
equipped herself sufficiently for
the role. It is half dialogue and
half singing. It is a rather tough
role for any but a professional
songbird, but Bebe will make it
because of her natural gifts of
voice, her tremendous earnest-
ness and, of course, her ability as
an actress.
I heard her take a lesson one
day, and also listened to the
rushes of her voice tests. She is
studying with Otto Morando, a
teacher of broad experience and
highest standing. She takes a
lesson daily, as do all of the
players in Hollywood. There are
periods, however, which are in-
terrupted, due to studio demands.
Now the average music student would fiercely object
to any one's listening to his or her lesson. But not
Bebe. She said, "Sure, come along. Tickled to death.
If you can stand it, I can." And to the credit of Signor
Morando, it must be said that he encourages all his pu-
pils — -and there are very many — to sing before
each other and any "visiting delegates."
It was very thrilling to watch Bebe. She
literally took her entire vocal apparatus be-
tween her teeth and shook tones out. No half-
way measures with her. She either sings, or
she doesn't. And if she is wrong in her tone
production, she demands to know why, and
) Continued on page 108
Clifford Lott can
point to "Smiling
Irish Eyes" as
proof of his success
in developing Col-
leen Moore's charm-
ing voice.
, and Leatrice Joy are
daily lessons.
->7
Silence Is (jold
en
</>
It is truly valuable in the studios nowadays, these
pictures showing precautions taken to maintain it.
28
ter th
Photo by Brown
Ziegfeld lured Ruth Morgan from Hollywood to play
in "Whoopee."
NO, it wasn't a traffic jam that de-
layed me," Fanny announced
airily, as though that excused
all. "I was walking, and I had to pass
the Roxy Theater."
Before I had a chance to gasp "Walk-
ing?" she was settled in the chair beside
me, with a wave of her hand had indi-
cated to the waiter that she wanted
practically everything on the menu, and
was all set to go on with her story.
Fanny really deserves the title of the
first and only continuous one hundred
per cent talker.
"Have you ever tried to get past that
crowd waiting to see 'The Cock-eyed
World' ?" she asked as indignantly as
though I were in some way responsible
for it.
"Have I ?" The vehemence of my
retort stopped her for a minute. "I
tried regularly every day for a week.
Finally, one day I waited long enough
to get halfway into the lobby, but had
neglected to bring along a box lunch, so
I fainted from hunger. And where do
you suppose my rescuers carried me?
Right into the theater! When I came
to. I waited craftily until they weren't
looking, and then I scuttled out of the
hospital quarters down into the theater,
thereby beating two or three waiting
sections."
Vilma
Banky
has
emerged
triumphant
from a
siege
with a
diction
expert.
5/2? e *E>y&iancler
"Dear, dear!" Fanny condoled patronizingly. "You
really ought to get around more and meet important
people. I went with a newspaper reviewer and all we
had to do was knock down two or three hundred de-
fenseless old men, and explain to the door man who we
were. Then we went right in and didn't have to stand
more than half an hour.
"And will you tell me what makes that picture such
a knockout?" she demanded, not, of course, expecting
a reply.
"It wasn't McLaglen, because he has done the same
sort of thing before, without starting any riots, and
vocally he's a disappointment. It must have been Eddie
Lowe, or my old favorite, El Brendel. You'll never get
me to admit that it was Lily Damita. Women don't like
Damita. She reminds them too much of the tales re-
turned soldiers told about their French sweethearts."
Fanny is right. "As rare as a girl who has a good
word to say of Damita," is a time-worn simile. I'd be a
traitor to my sex if I admitted that I admired her per-
formance in "The Cock-eyed World." Really, she is
not like that. At least not on the tennis
courts in Hollywood. She is more in-
clined to be coy and hoydenish.
"I think I liked 'The Cock-eyed
World,' " Fanny rambled on, "because I
was so relieved that there was no war in
it. All a picture has to do is to show a
one-legged man, or play a few bars of
'Over There,' and I am dissolved
in tears."
In which case Fanny has a
long, hard year ahead of her.
The war is to be fought in an
epic way by at least three com-
panies. Herbert Brenon is to
make "The Case of Sergeant
Grischa" for RKO. I suppose
he knows his business better than
I do. Do I hear tumultuous cries
of "Yes, yes"? But still I can-
not see how he will make a
picture of the heart-rending
story of an innocent man's ex-
ecution and the relentless work-
ings of red tape.
Universal will make "All Quiet
on the Western Front," and
Tiffany-Stahl "Journey's End."
They are the three grimmest, most
heart-breaking dramas of the World
War. They are just the bewilder-
ing routine of a small section of the
war as seen by sensitive individuals.
"Journey's End" has charming hu-
mor of a goofy sort, but the others
have none of the comic spirit that
inspired the saying that the French
fought the war for patriotism, the
English for power, and the Ameri-
cans for souvenirs.
But even with such weighty mat-
29
^acups
Fanny the Fan announces that
talking pictures have become
blase and produces evidence
to show that audiences haven't.
ters as war on my mind, I kept thinking of
Fanny's reference to walking. Finally, I asked
her if there was a taxi strike.
"No," she said hesitantly, "it's all Hedda
Hopper's doings. Fven though the country
separates us, Hedda's good example still hits
me once in a while. Every time I think of her
I go in for a sense of beauty and healthful
living. First, I buy a lot of clothes and then
I start taking exercise. When I saw how
gorgeous she looked in 'The Last of Mrs.
Cheyney' her preachments hit me hard and I
have been trying to live up to them ever since.
Fve haunted the Paris openings at the shops
buying the fragile, feminine clothes that Hedda
wears; I've walked when I wanted to ride, and
I've tried to get a night's sleep now and then.
But the picture openings lately haven't been the
sort you could sleep through.
"But speaking of the new clothes" — she knew
that if she didn't pretty soon I would demand
that she should — "they will make a lot of dif-
ference in pictures. The skirts, even on sports
clothes, are ever so much longer. That will
hide the only tangible assets some of the
younger players have. But it may pave the
way for that long-threatened film debut of
Aimee Semple McPherson."
"Just as though Hollywood didn't set its own
styles," I cut in. "Backstage fashions will still be
skirtless, and as nearly as I can see the wave of
backstage stories isn't nearly spent. Billie Dove
will always be draped in lace in the manner of a
small-time prima donna, regardless of fashions, and
Sally O'Xeil will continue to tie sashes tightly
around a high waist-line."
"You might just as well know," Fanny cautioned
me, "that catty remarks about Sally O'Xeil are out
of order. I have always thought her clever, but
since seeing 'Sophomore,' she is my favorite crooner
on the screen. A lot of other girls have
melodic, cultivated voices, but Sally's is the z£
only one that has a childish «^Ml
note in it." /"
As though that had anything y/j^
to do with her taste in clothes! _^^
"You know," Fanny rambled
on, "producers are getting aw-
fully blase. They're not satis-
fied with putting one or two
stars in a picture. Look at the
'Hollywood Revue' ! It is so
crowded with stars it makes
you want to howl, because just
as soon as one of your favorites
gets going, he is rushed off to
make room for two or three
more headliners. I like the
Tears were shed when Gertrude
Lawrence left the Paramount
studio for England.
Janet Gaynor's fate in talking pictures
still hangs in the balance.
samples of Marion Davies' and Wil-
liam Haines' work and wanted a lot
more.
"Texas Guinan felt the same way
on the opening night, only worse.
Honestly, she acted like a child at its
first show. She was so thrilled and
excited, she must have worn out
her rings applauding. She heaved
and sighed over Charles Khm"s
mother song, and gasped her re-
grets whenever a clever turn was
cut short. Only once did she
break out into a wisecrack. Dur-
ing the 'Jewel' number, when for
no apparent reason, the camera came
to rest on a long close-up of a very
blah blonde, she announced loudly.
'Fanny Ward !'
"I wish that some visiting Ilolly-
woodians had been here for that
opening. The contrast of Eastern
and Western audiences i< staggering.
Out West nothing but the shiniest top hat.
the biggest diamonds, and a record-break-
ing crop of ermine and marabou will do
for an opening. But at the Xew York-
opening the nearest approach to evening
dress was wilted chiffon and a pair of
sneakers.
"Film openings are getting awfully im-
30
Over tke Teacups
Fanny decides that Lily Damita's fan following is large
made up of men.
portant, though. Texas Guinan and all the Broadway
regulars attend them, even when a big stage premiere
conflicts.
"Charles King ought to get a medal for one great mo-
ment of acting. He was supposed to register deep hu-
miliation and chagrin when he found that Conrad Nagel
had a fine singing voice, and he put the idea over un-
mistakably. But the trouble was that Conrad did nothing
to build up the scene.
He just proved that he
had a heavy, artificial
voice with a strong,
nasal twang.
"When you are see-
ing shows like the
'Hollywood Revue'
and see how hard the
chorus girls work, you
begin to understand
why some of them are
hurrying back to
Broadway. Ziegfeld
brought four of Hol-
lywood's favorite
beauties East to play
in 'Show Girl' and
'Whoopee.' And are
those girls happy?
Evelyn Pierce and
Ruth Morgan never
had to worry about
being out of work in
the studios. Every time a director wanted a couple
of beauties to dress up a scene, theirs were the first
names that came to a casting director's mind. But
working in pictures nowadays is just like playing
in a super-stock company, where a new show is
put on every week, with entirely new songs and
dances. It means eight hours of work every day
and continuous dancing and singing lessons. But
in 'Show Girl' the girls get just as much money,
and after learning the routine of the show they are
all set for a year's run, if not longer. Eight per-
formances a week, doing the same things over and
over again, is a lot easier than eight hours a day,
continually learning something new.
"Chorus girls aren't the only sufferers from the
epidemic of tap dancing in pictures. Stars have to
learn, too. It seems to me that every time I pick
up a newspaper, or get a letter from the Coast, I
learn that Janet Gaynor has just collapsed from
the strain."
"But I thought "
But Fanny was not in the mood to be inter-
rupted.
"Yes, you thought the Fox officials disapproved
of Janet studying dancing. That shows how their
convictions shift with changes in pictures. Three
years ago they put up an awful holler, because
Janet went to Walter Wills' dancing school twice
a week for taps and waltz clogs. They said the
exertion was too much for her, that it was ruinous
to her health, et cetera. Now they want the poor
child to learn, in a few weeks, dance routines that
would be difficult for a seasoned hoofer."
"What are they doing about her voice ?" I asked
by way of being unpleasant.
"They don't have to do any tiling about her
voice," Fanny retorted, but her tone lacked sincer-
ity. Fanny knows as well as every one else that
the lovely, ephemeral Janet of the silent drama was
displaced by a realistic and almost humdrum per-
sonality when she spoke. But there is always hope.
Miracles are daily being performed in training Holly-
wood voices, that is, with all except Dolores Costello's.
"Vilma Banky's been given a clean slate, or a diploma.
or whatever it is that diction experts give players as
evidence that they have conquered their 'o's' and 'k V
and 's's.' Vilma has been studying for months with
Jane Manner. Part of the course of study is to watch
your lips in a hand
mirror to see if you
are forming each let-
ter perfectly. I am
anxious to see rather
than hear the result.
If it is as grimace-y
as I fear, I am all for
having voice doubles
speak lines offstage,
while pretty girls like
Vilma restrain their
faces in the old silent-
film manner."
Well, you can't very
well please every one.
Many fans object to
the use of voice
Gloria Swanson bursts
into song by way of
denying to interview-
ers that she has a voice
double.
Photo by Bachtacb
Ov>er the Teacups
31
doubles. They tnink that players who use them
are cheating. And here is Fanny in favor of pre-
serving the illusion of a star's beauty at any cost.
It seems to me that the best solution of the prob-
lem is to move the camera way back whenever a
player opens his mouth a la Grand Canyon in
reaching for a note.
"Gloria Swanson has a marvelous way of an-
swering people who ask her if she really does her
own singing in 'The Trespasser.' Without clear-
ing her throat, or snapping her fingers for an ac-
companist, she simply breaks into song. Her voice
is one of those charming, naturally melodious ones
that never has to feel its way round for true pitch.
"Gloria was in one of her lovely, joyous moods
when she stopped off here on her way to Europe,
and when Gloria is happy there isn't a more gra-
cious human being to be found anywhere. When
she is worried, she becomes aloof and goes into
portentous silences. But on this trip she went
through the most grueling experiences as gayly
as a lark."
While Fanny was speaking, I was wondering if
larks really are gay. If a casting director for
sound effects were asked to find a gay lark, could
he? I heard of one who had a lot of trouble
searching for a bell that would live up to the de-
scription "As clear as " Dear, dear, what
troubles these sound effects have caused ! One
man was headed for a madhouse after trying to
find a Yiddish-speaking parrot and some baritone
crickets. I snapped out of my reverie to find
Fanny still ranting about Gloria.
"How she ever stands the strain I can't see.
This is supposed to be a vacation for her, but ten
photographers met her at the train, and there
were as many more waiting at the hotel to take
pictures of her in lounging
pajamas. In two hours she
talked to twenty-three inter-
viewers, and when she stole
off to see Dorothy Stone, in
'Show Girl,' some more
newspaper men spotted her
and rushed up to ask ques-
tions. She expects to make
personal appearances at the
premiere of her picture in
London, Brussels, Paris, and
Berlin. What a vacation !"
I do hope that some one
has notified both Gloria and
Cecil DeMille that a bath-
room is now on display at
the Metropolitan Museum of
.Art. As pioneers in the
movement to exploit bath-
rooms as works of art. they
should be told that their
campaigning has broken down
the reserve of the most con-
servative of institutions. I
wouldn't even mention mu-
seums to Fanny, though.
She wouldn't understand any
one going to a place where
movies are not shown. I
doubt if she ever even de-
Anna May Wong's triumphs
in Europe are social as well
as professional.
Evelyn Pierce is another who gave up Hollywood to play in
"Show Girl."
veloped an ambition to go
to Sing Sing until she
heard that they had in-
stalled talkies there.
"Wouldn't you love to
go to Europe now ?" she
asked in a burst of en-
thusiasm. "There are so
many American stars in
England and France it
must be terribly exciting."
And to think that some
misguided souls go over
just to see a few old ca-
thedrals and remnants of
aristocracy ! They would
never rate as real movie
fans comp a red with
Fanny.
"John Gilbert and Tna
Claire are in London.
Reginald Denny is in Eng-
land to make pictures.
Adolphe Menjou and
Kathryn Carver will
in France to make ] pic-
tures, while that old in-
patriatc. Rex Ingram, is
coming back home I
:hool and learn about
talkies. But the real sen-
Continued on page 94
32
Back Home — and Happy
You won't see Tom Mix in any new pictures for some time, for he has run away from Hollywood
and joined the circus he trouped with twenty years ago.
By Helen Klumph
IT was that dusky-blue hour before dawn, when the
seemingly endless yellow cars at the Sells-Floto
Circus rumbled into the railway yards at Stamford,
Connecticut, and came to a halt, All was quiet in the
town, but hardly had the first elephant bellowed his
"Ugh-eee!" of command to his twelve teammates to
link trunks and tails and plod down the runway to the
ground, when a scrambling, hustling army of little boys
appeared out of nowhere asking, "Where's Tom Mix's
car?"
For weeks the countryside had been placarded with
posters proclaiming that the one and only Tom Mix,
with his famous horse Tony, would accompany the
mastodonic pachyderm marvels, the Hanneford family,
the breath-taking aerialists, the almost-human seals, and
the man who at each and every performance was shot
from a cannon. The silent theater that had done little
business since the talkies came in down the street, re-
vived one of his old films and cashed in on the impatient
interest in Tom Mix aroused by the circus posters
Excitement was at fever heat when the circus trains
began to disgorge, the army of workers who
skillfully slid the flamboyant scarlet-and-gold-
encrusted wagons from the flat cars to the
ground. Everywhere underfoot, jostling,
tripping, and miraculously dodging, was that
swarm of little boys who piped constantly,
"Where's Tom Mix's car?" "Can I carry
his bags?" "Is he awake yet ?" It would
have been strange if he weren't, in all
that tumult and shouting.
Finally one of the circus men let out
the secret that Tom Mix's private car
was the dark-colored one among the
stream of yellows, and the boys swarmed
in that direction. They climbed upon the
platform, they piled
up boxes to stand on,
bringing their faces
to window level so
that if by chance
Tom Mix should
raise the shade, there
they would be look-
ing at him up close.
Fifty of them
were lured away by
the promise of a job
helping to unload at
the circus grounds.
But the crowd that
stayed filled the
space between the
two trains. When
Tom came out on the
platform for a breath
of air before break-
fast, a shout went up, and there was a chill of dread in
some hearts that he might be annoyed and distant with
them. They had met stars before, who wore their geni-
ality only during a personal appearance at a theater.
"Hi there, boys!" he called out breezily. "Why didn't
you let me know you were coming over, so I'd be up?"
Thunderstruck by this friendliness, one youngster al-
most toppled off the leaning tower of boxes he had
erected.
"Whoa there," Tom cautioned, grinning broadly,
"you can't ride Tony if you can't keep your seat better
than that."
When he went back into his car with a wave and
"See you later," he could have enlisted an army of
boys to follow him wherever he willed. "Oh, boy!"
one of them ejaculated, thumping his little brother on
the back. And then again, as though further words
failed him in this great moment, "Oh, boy!"
Over at the circus grounds the reserved seats were
sold out and the general admission section was jammed
an hour before the afternoon performance. Patiently
Tony had stood while admiring throngs gaped
at him. And then at last the great moment
came. The calliope puffed, the band rose to a
crescendo and into the tent came the parade,
with Tom Mix on Tony in the lead. The clatter
of applause and shouts vied with the band, the
animals behind snorted impatiently, and the
Oriental beauties am-
bled along unnoticed
as Tom stopped at
everv section to wave
and call "Hello!"
It was a youthful,
grinning Tom Mix who
greeted the crowd ; a
man who had shed
twenty years since leav-
ing the cares of Holly-
wood and coming back
to life in the open.
When he wasn't in the
ring putting his trained
horses through their
paces, or dashing here
and there at breakneck
speed with his yelping,
stunting cowboys, he
was standing over by
the band stand, looking on as eagerly as though
he had never seen it all before.
Just before the evening performance I went
back to his dressing-room tent to see him.
Tom is one of those people you always want
to see again. In those hurried minutes be-
fore he made his entrance, he didn't have to
assure me that he was enjoying life these days.
Continued on page 109
"Everything in
the circus is
so real it
makes Holly-
wood look like
papier-mache."
— Tom Mix.
33
Melodious Sxtfains
Now it's with music and song that screen lovers win
— or lose — their "proud fairs."
H
Joe E. Brown, above, strums his guitar and sing*-
to Marion Byron, in "Song of the West," but
it must be a sad ballad.
Nick Stuart, center, warbling trustingly under
Sue Carol's window in "Chasing Through
Europe," is about to get a flower, pottery
and all.
In "The Delightful Rogue" Rita Le Roy, below,
is the inspiration for soothing strains by Rot
La Rocquc.
Dorothy Sebastian, above, has
no taste for Jack Benny's per-
formance on a Chinese fiddle.
Bessie Love, below, also has
unromantic ears, and John
Mack Brown's
. music is just wast-
4 ing itself.
6<k
Pliotu by Richee
STARS may come and stars may go, but a good actor
goes on forever. Look at William Powell. If you
can think of a better example for the point at issue,
name ten. All right then, look at William Powell.
In the beginning, it was decided that there would have
to be some compensation for the histrionic deficiencies
of the majority of stars. So that was when William
Powell made his cinema debut. Since which time he has
blithely, and quite without malice, stolen more pictures
from the players he has supported than any other actor.
Many a star long on eyelash, but short on brain wave,
has been baffled by Mr. Powell's suave theft of scenes,
BiUPovOell-AsHels
A brilliant resume of the character and career of one of
the most adroit and sure-fire stars.
By Margaret Reid
and has pouted in corners as a result— and has discovered
dismally that there was nothing to be done about it.
It is a little unreasonable that Powell is such a fine actor.
Or, if he must do good work, the least one can expect of him
is adherence to the Hollywood precept of one contract being
better than another, not because of the additional thousand
dollars it entails, but because of the additional opportunities
for dramatic expression. It has made more than one boule-
vardier shudder fastidiously when Bill Powell has bluntly con-
fessed that he is in pictures solely to make money. Such vulgar
frankness is not quite cricket around the cinema capital.
But that is his story and he sticks to it. The making of
money is his primary interest. If, in so doing, he has a picture
now and then in which he can take an intelligent pride — well
and good. But if not, his heart doesn't bleed with artistic
frustration. He is sorry, but not as sorry as he would be if
there were a cessation of pay checks.
At one time, the tremendous glory of being a Thespian was
all that Bill Powell asked of life. During his college years,
when his trusting family still thought their boy was going to be
a lawyer, he was lending most of his energy to college dra-
matics. Pedagogy left him cold and when, during vacations, he
worked in a telephone office, and then in a haberdashery, the
glimpse afforded him of business routine was distressing in the
extreme. Deciding that he would be the last person in the
world to drown artistic genius in a business career, he left
college and took the flower of Kansas City dramatic talent to
New York.
In the American Academy of the Dramatic Arts, young Wil-
liam Powell learned many disconcerting facts about what was
wrong with his interpretations. Undaunted, he threw himself
into study with great fervor. New York was enchanted ground,
and he was to be its chosen.
On leaving the academy, he proved to be no Merton, but
rather a good advertisement for his teachers. He had no diffi-
cultv in obtaining roles. For several years thereafter he worked
steadily, principally in New York, now and then on the road,
gaining constantly in repute. He was doing, altogether, ex-
tremely well.
And then, gradually but surely, the pleasure of hearing him-
self talk before an audience began to
dwindle in importance. The first
thrilling luster of the footlights wore
off, and he realized that there was a lot-
in life besides acting, that there were
countless places he wanted to go,
things to see and to do. And he wasn't
becoming rich enough to do them.
Straightway he decided that what he
must do was to find a better business, since only a select
few stage players ever become really wealthy.
Having heard much about the inviting salaries of the
movies, Powell made several attempts to get one of
them, but without result. Then one day, when he was
enjoying the questionable glory of five successive artistic
successes — that is, commercial flops — he ran into Albert
Parker in the Lambs' Club. Parker was about to begin
direction of John Barrymore, in "Sherlock Holmes."
and asked ^Powell why he didn't come along and play one
of Moriarity's henchmen. Unable to think of any reason
Continued on page 104
Many a star long on
eyelash, but short on
brain waves, has been
baffled by William
Powell's suave theft of
scenes, but nothing can
be done to stop him.
35
Photo by Homme!
THOUGH William Powell might well prate of his art and his
philosophy, he eliminates both by saying- that he is in the
movies for money with which to enjoy himself later, this being but
one of Margaret Reid's discoveries in the story opposite.
36
"T^HE singing screen revealed to John Boles the promised land
' he hoped for, but never quite attained in silent pictures, and
now he is to scale greater heights in a musical film based on the
life of Rouget de l'lsle, composer of "La Marseillaise."
Photo by Freulich
37
Photo by Russell Ball
SERENELY Louise Dresser contemplates the opening of the
new movie season, for she finds her fans doubled by her
increased appeal in the talkies and promises them, in "Twelve
Hours of Love" and "Three Sisters," thrilling reward for their
loyalty.
38
\17HAT can orchidaceous Olive, the beauteous Borden, know
»» of love by halves, when sweeping completeness is so
obviously her destiny as long as there's a man alive? Let the
screen answer the question, for her first dialogue picture is "Half
Marriage."
39
Fholo hy Otto Dyir
OF all the younger players, none has more fully realized the
promise his acting held than Richard Arlen, to whom
speech has proved no stumblingblock, but a means of making
every role more vital. And his reward is full-fledged stardom.
40
■MMMMMM
MARY DORAN first attracted notice in "The Broadway
Melody," as the hard-boiled vaudeville performer who paired
off with Bessie Love when Anita Page married and broke up the
act. Well, you'll see her again in "The Girl in the Show."
Photo by Ruth Harriet Louise
11
\
Photo by Ruth Harriet I-ouii
"THERE'S everything in the name when it's for the screen.
* For example, John Mack Brown is just like his — an everyday
chap, a composite of the crowd, or the group strumming ukuleles
>n the porch. That's why he's popular. Or is it something else?
42
AGAINST everybody's advice Irene Rich ventured into vaude-
ville and promptly became a different person — so different, in-
deed, that her doubtful voice became a charming one and she was
recalled to Hollywood, as you will learn from the story opposite.
Photo by Bussell Ball
1 1
Irene Rich and her daughters by her first marriage, Frances, left, and Jane.
Irene Is Made Ov
er
Just when her screen career was stagnating and her future uncertain, Miss Rich took a flyer in vaudeville
and found a new personality and the secret of renewed success.
By Myrtle Gebkart
WHERE, I wondered, as she sat across the table,
tailored in blue, her manner jaunty, and her
merry eyes shining, was the Irene Rich of re-
sponsibilities and rules? She in whom, if ever there
had been any chance turbulence, it was instantly cur-
tained with a well-bred calm ?
Gathering her courage in one final effort to fight off
professional stagnation, she had taken out a vaudeville
act, and had turned the failure predicted for it into
success by being herself.
Dulled into routine's security by poverty's reminder
and a family's necessity, for a long time she dared not
involve her career, though it was gradually slipping
down grade, by pursuing" endeavors of chance. Always
her desire to go on the stage was shelved as an unrea-
sonable and foolish dream. Lack of confidence in her
own powers Avas her bete noire.
Practicality overlaid her manner, her every thought.
Life itself had a much-pressed air. Her capability in
many guises was evidenced, even stressed; one almost
resented her skill in coordinating the duties of career and
home, with so little friction. Making a cult of con-
servatism, she was too thoroughly nice.
But certainly she did not express the strong convic-
tions, italicized by gestures, to which she gives vent
now. Why, once or twice during our talk, instead of
compromising as she used to, she was absolutely opin-
ionated ! I wanted to get up and cheer, and in sheer
surprise might have done so, if we hadn't been so con-
tinuously interrupted by the glad greetings of her
friends.
Her excursion into vaudeville refashioned her into
buoyancy. It dimmed the faint lines which were be-
ginning to etch that set-in-a-mold look; it fluffed her
conversation. Vivaciously fluent, her repartee is keenly
pointed, at times pungent; she broadcasts verve, and an
electric interest in everything and everybody. Her very
thoughts seem to leap and hum.
The success of her tour was largely <\uc to her un-
ostentatious, intimate manner. Her sketch had a light
cleverness, hi her public appearances she wore frilly
clothes, which site invested with that spontaneous, youth-
ful charm nullified by the camera and te roles
so frequently allotted to her.
The friendliness of her curtain speech, with its timid-
ity, quite won everybody. She was no movie Star, mak-
ing a personal appearance. Explaining that this articu-
late venture was undertaken as a test of her vocal abil-
ity, the simplicity of her address accomplished an appeal
beyond rhetoric's power. It had an air of. "I'm trying
to put tin's over — will you help me?" which went strai
to people's hearts. That sincerity was a reflection
herself.
The tour was beneficial in a number of ways. It de-
loped her voice, taught her some >kill in its projecti
tge, and nuance and brought out a clear, crisp tone.
It gave her poise and self-confidence. If ever again a
rut threatens her. she will break ou1 of it with quicker
courage and energy. Most important o\ all. was the
public's introduction to the real Irene Rich, lovely,
spirited, gay.
"Why. you're- so much younger than we expected!"
fans exclaimed invariably, in surprisi mre.
Continued on page 115
44
Dance, Baby,
D
mce!
Elliott Nugent and Phyllis Crane
show their gyrations in "College
Life" and dare you to go and do
likewise.
The first movement, left, shows the dancers
rocking from one foot to the other in this
pleasant, chummy fashion.
Jumping to the fifth movement, right, Mr.
Nugent and Miss Crane grab hands in
mid-air and embark upon a fox trot.
The second movement, above, shows
the position assumed after the dancers
have wheeled about, keeping time with
the knees.
Third, right, has the dancers starting
on a hopping glide, changing their
foot positions with every third hop.
Can you follow this? If not, blame
those who started you going.
The fourth movement, left, consists
of spinning around and gliding side-
wise, if by now you aren't too dizzy.
We are, after trying mentally to
dance the steps.
15
Calm As the
Night
Though Marguerite Churchill, heroine
of "The Valiant," is one of the few
stage players to make a sympathetic
impression on the screen, she is neither
excited nor influenced by Hollywood.
B$ William H. McKegg
STXCE the talkies swept over Holly-
wood, every one has been sunk in a
whirlpool of contemplation, discus-
sion, comparison, and distraction. One of
the chief factors causing this upheaval has
been the arrival of a number of players
from the stage. Many have come — in fact,
so eager were producers to engage trained
voices, that some players were almost kid-
naped and dragged westward, like recalci-
trant victims for sacrifice to a new cult,
Of the scores of stage actors who came,
scarce a handful remain. In many cases,
one screen performance was given and the
players returned to Broadway, probably
quite willing to stick to their old jobs, and
not enter new fields. The few that remain
and are likely to become well known, al-
most assume the likeness of extraordinary
individuals.
It is a little too late for me to state that
Marguerite Churchill is likely to become
one of the exceptions. She has proved
herself to be one already, so I am done
out of appearing as a prophet.
Under contract to Fox, Miss Churchill
played in a couple of short talkies. Prob-
ably her willingness to be told things earned
her the lead opposite Paul Muni, in "The Valiant."
Most stage players, who have played leads on Broad-
way, would have turned up artistic noses at the sugges-
tion that they act in anything like Clark and McCul-
lough's "The Diplomats" and Robert Benchley's "Fur-
nace Trouble."
Not so Marguerite. She knew nothing about pictures
and didn't pretend to. She realized that she had come
upon something entirely foreign to anything she bad
ever done before; she was not adverse to being guided
while she studied the new medium.
I could name one or two stage players who came to
Hollywood and regarded the talkies with condescend-
ing mien, posing amid theatrical grandeur. Where arc
they now?
But to return to "The Valiant," to prove that some
stage recruits face happier endings.
If you saw this picture, you must have noticed Mar-
guerite Churchill's poignant acting — and her exquisite
hands. She can do more with her hands than other
players can do with their entire bodies. I shall return
to her hands later on. Keep them in mind. In the
meantime, before it is too late, you must hear what she
has done from her earliest years to the present time.
Kansas City claims her, because she was born there
on a Christmas Day — which makes her no ordinary per-
son to begin with.
Though brought up in the atmosphere of the theater, Miss Churchill
wears none of its tinsel.
New. York has been chiefly her abiding place, though
she lived more than a year in Buenos Aire-. 1 ler father
bought a chain of theaters in South America, and took
Marguerite and her mother with him to the Argentine.
Marguerite returned eventually to the I "nitcd State-,
crossing the Andes up to Lima, and taking a ship from
there, through Panama, and back to New York.
Then she entered the Theater Guild School of Acting.
I ler first professional role was the ingenue in "Why
Not?" She must have been good, for she became the
youngest leading lady on Broadway, playing in "The
House of Shadows," "The Small Timer," "The Alimoni-
acs," "Skidding." and "Night Hostess." Her most
prominent success was in "The Wild Man of Borneo."
It was while playing in the last that Winfield Sheehan,
vice president of Fox, saw her. Right away he sought
her out and signed her, and thus Marguerite came to
Hollywood with her mother and grandmother, to learn
what it was all about.
I found her in a Beverly Hills abode of Spanish archi-
tecture. A large bell clanged when I pushed open the
iron gate and entered a patio. I expected to see Raiuomi
run out and greet me. but Mi-- Churchill appeared in-
stead, not running, but gliding gracefully like a sylph.
She stood in the open doorway wearing a dr< -
some veily stuff — you know the kind I mean. In the
dusk it gave her the appearance of being enveloped in
46
Calm As the Night
Marguerite Churchill's exquisitely formed and eloquent
hands attracted attention on her first appearance.
faint mists. She has dark-auburn hair, with touches of
bronze in it. Her slender arms are beautiful, and her
hands are the most perfect of their kind. What was
that, Johnny ? Her eyes ? Well, believe me, old chap,
they are confoundedly large, a deep velvet-brown. They
hint of unfathomable depths, and mystic things and
secret quests and — well, then we went inside the house,
for Mrs. Churchill was approaching to learn why the
interviewer was such a long time coming in.
Though practically brought up in the atmosphere of the
theater, the Churchills possess none of its tinsel. They are
well-bred gentlefolk.
We talked of many things — from cabbages to kings. Mar-
guerite sat curled up at one end of the settee, her arms and
hands in graceful postures, like pieces of sculpture.
Hollywood ? She had been here only six months, and knew
scarcely any one.
"Mother and I have been invited to a few places, and have
enjoyed ourselves very much, but I am still quite a newcomer.
My director, William K. Howard, is a delightful man. He is
both clever and entertaining."
"You won't like most of the receptions," this individual put
in, being determined to discourage the newcomer as
much as possible ; whereupon he spoke thus and thus,
as Mr. Arlen would say, about Hollywood receptions,
their meanings and results.
Marguerite looked incredulous and said,
"Oh/ surely not ! ■ But we scarcely know any
one yet." Then her mother entered, after a
short absence, carrying three large glasses of
orangeade. I hesitated, because I am good
and insist on observing the law, and said, "Is
— it "
Mrs. Churchill smiled and reassured me by
saying, "No, it's only orangeade — the strongest
drink you'll get here."
Moving the sprig of mint aside so it wouldn't
tickle her nose, Marguerite remarked over the
rim of her glass, "I always feel as if there is
something dreadfully wrong with me when a
drink is offered me and I refuse. I get such
surprised looks, and am deemed a 'good little
girl' ! One would think I had to put up some
big mental fight in refusing, when I decline
merely because I wish to."
Embarrassment on this point was also felt
by her mother.
"I feel more uncomfortable than Mar-
guerite," she said, "for I always think the
others believe Marguerite refuses because I am
there — that she'd accept, if I were absent."
Marguerite was in the midst of her new
picture, "They Had to See Paris," with Will
Rogers.
Did she find tne studio rather startling after
the stage?
"Not at all. I had never been inside a studio
before I had my test taken, and until I came
out here," she explained. "There
was nothing to frighten me, though
everything was new. What amuses
me is that most of the picture
people depend so much on the
camera. They must stand at cer-
tain angles, their faces must be
seen, they say, or how can they
act? I think you ought to be able
to act as much with your back as
you can with your face."
She did not mention acting with
her hands. In fact, this young
actress will not talk about any-
thing that gives herself a com-
pliment. But I'll tell you.
^ \ Marguerite Churchill's hands
lpjyK\ are so beautifully expressive
that she does not have to face
the camera to let an audience
know what she is thinking.
But didn't the scattered con-
tinuity of studio acting make
it difficult to get into emo-
tional moods?
"Not to me," Miss Church-
ill gayly denied. "For in the
first dramatic scene I had to
play, I got the fright of my
life. A violin and organ com-
menced something like 'Hearts
and Flowers.' Instead of
pitching me into the depths of
pathos, I burst out laughing.
I said, 'Please stop the music !
I get better results without
any.' You see — on the stage
you have to act without musi-
cal atmosphere. It is not diffi-
cult." [Continued on page 110]
47
He Dug His
Wa? In
Guinn Williams entered the movies by means
of a pickax, but it has taken him ten years to
reach the inner circle.
By Helen Louise Walker
GUINN "BIG BOY" WILLIAMS might
never have been in pictures if he hadn't
been commissioned a second lieutenant in
the army.
And he entered pictures in a novel manner. He
dutj his way in — with a pickax. Honestly! And
if his horse hadn't died, and if it hadn't been for
that plumber, and if he hadn't had such well-
developed muscles in his arms — everything might
have been different.
Oh. well, all right! I know it sounds involved.
But I'll straighten it all out in just a minute.
We'll begin with the commission and work
along from there. It was like this. Big Boy
joined the army during the War and won his
commission when he was nineteen. After the
armistice was signed, he went home to the ranch
in Texas and found that his father had secured
an appointment for him to go to West Point.
Big Boy was a little dismayed at the prospect,
lie had already had quite a lot of army lite — and
he had made other plans.
''You see," he drawls, "I
figured that I was already a
second lieutenant. The idea
seemed to be for me to go
and work like everything for
four years at West Point,
and when I got through — I
would be a second lieutenant !
Seemed kind o' silly ! So I
said I'd rather play baseball.
I'd had an offer from the
White Sox."
The elder Williams didn't
care for that. They couldn't
seem to compromise on their
divergent plans for Big Boy's
future. So Big Boy left
home.
Baseball, it seems, didn't
wear so well, and it wasn't
long before Big Boy was
wandering about the country,
cashing in upon his early
ranch experience by riding
and roping in rodeos.
What more natural at this
point than that he should
come to Hollywood to do
stunt riding in pictures ?
He arrived with two dol-
lars and a half in his pocket
and looked about him for a
motion-picture studio. He
found Larrv Semon and his
Photo ! iv Fryet
Guinn Williams, nicknamed "Big Boy," was born
on a Texas ranch, and much of that environment
still clings to him.
In "Lucky Star" he is the villain to the hero of
Charles Farrell, left.
company working out of doors
on a comedy. Here is where
the pickax enters the story. A
large hole in the ground was
required for the picture and
Big Boy, standing by. consid-
ered that the efforts of the
workmen employed to dig the
hole were distinctly half-
hearted.
"I hadn't had any exercise
for days." lie said. "I went
over to a man and said. 'Say!
Would you lend me your pick
for just a minute?' The bird
was glad enough to turn it
over to me. and I tore into
that hole like nobody'- husi-
ness. Pretty soon everybody
began to watch me — I guess
they thought it was funny that
anybody could he so enthusi-
astic about digging! Semon
came over and asked me if I'd
like to do some work in coin<--
dies.
See" What did I tell you ?
lie still had the notion that
a hard-rifling cowboy should
make good in Westerns
he drifted out of comedies,
and sought employment in the
wide-open epics.
48
He Dug His Wajl In
Photo by F W v
Big Boy eats steak for breakfast, because
"you gotta have muscles to act," he says.
"I found out that in the old-
fashioned, cheap Westerns they
had a good-looking guy for the
lead, and had somebody who could
ride to double for him. I got to
be the double," Big Boy relates
mournfully. "But I wasn't licked
yet. I thought I'd get me a good
horse and train him the way Fred
Thomson and Tom Mix had — and
I'd get to do some pictures where
I could do my own riding.
"Well, I got the horse. And,
say ! What a horse he was ! I've
ridden horses and broken 'em, and
worked with 'em all my life, but
I've never seen a horse like that
one. Beautiful, intelligent, gentle,
easy to train, spirited — he had
everything. I spent a lot of time
and money on him — getting ready
to make pictures with him. And
then he took the flu and died.
"That did nearly finish me.
After that I had appendicitis, and
the doctor said I wasn't to get on
a horse for at least a year."
There was a lugubrious silence
at this point in the narrative. We
were lunching: at the "Munchers"
Charles Farrell and Guinn Williams v^/
are real pals, but they don't talk about it.
l'lioto by Kahle
on the Fox lot, and Charles Farrell joined us.
Charlie and Big Boy are great pals.
"Tell her about the plumber!" urged Charlie.
"Oh, the plumber! That was a part in a pic-
ture," Big Boy explained. "It was an independent
picture, and it wasn't so much of a part, but I was
plenty glad to get it. It turned out to be a pretty
good role for me — an easy-going, good-natured,
funny, diamond-in-the-rough sort of chap. Lots
of comedy. And it went over pretty well."
"Pretty well!" snorted Charlie.
"Very well," admitted Big Boy. "I've never had
an idle moment since. Of course the role in
'Noah's Ark' did me a lot of good. It was the
same type of character.
"Funny thing about 'Noah's Ark.' When George
O'Brien and I got those parts in that picture, we
thought it was on account of our ability as actors.
We felt pretty good about it. Or at least I did.
But we figured out afterward that we weren't
chosen because we could act at all. Uh ! Uh ! We
were picked because we were husky guys who could
pack a lot of weight without collapsing.
"You know — you saw the picture. George had
to carry Dolores Costello all around, and I had to
carry about two tons of suit cases ! You gotta have
muscles to act in pictures like that one. There was
hardly a scene where we didn't carry something."
He looked extremely adequate as a candidate for
muscular roles as he sat stowing away roast beef,
while Charlie toyed with chicken salad. Big Boy
urged his friend to have a "steak or something"
and insisted, worriedly, that he eat a piece of cus-
tard pie with cream on it.
"When I first knew Charlie, he didn't eat any
lunch at all!" he told me in a for-heav-
en's-sake voice, adding, "I eat steak for
breakfast !"
And Charlie volunteered
proud remarks about how well
Big Boy was doing in "Lucky
Star," Charlie's new picture in
which Big Boy plays the
heavy.
"I wasn't a bit sure I wanted
him to do this part," Charlie
said, "though of course I
wanted him to work with me.
It's a real heavy, you know,
and I thought it might not be
good for him. He has played
those lovable characters for so
long that he has made a name
for himself in them. But he's
doing awfully well in this
I guess it won't hurt him.
What do you think?"
I was sure it wouldn't harm the
big actor in the least— which seemed
to relieve the Farrell boy amazingly.
There is real affection between these
two.
They were going out to Big Boy's
ranch to ride that afternoon, it being
Saturday and the director of
"Lucky Star" having a desire to
play golf, which released the com-
pany from work.
Big Boy's cowboy proclivities
persist, you see, even after ten years
in Hollywood. He has a miniature
Continued on page 111
49
Just
in
Sport
These movie folk may be merely suggesting a fad for golfers
and college freshmen.
Edmund Lowe, be-
low, wears his beret
at a cocky angle, as
he docs all his lids
from topper to tin
hat.
Nothing like the beret for
golfing and motoring, says
Charles King, above, in in-
dorsing the brief headpiece.
Morgan Farley, above, a former
stage player, seeks comfort above
all.
No ordinary headdress, this, for
Basil Rathbone, below, imported
it from Paris.
Conrad Nagel,
right, looks you
in the eye and
dares you to take
off his beret, if
vou don't like it.
50
AT last there is some chance to discover who's
who in movie-talkie Hollywood. So many play-
ers have been signed up, that it has been almost
impossible to discriminate between the wheat and the
chaff, so to speak, until right now. A whole host of
debuts will be made this fall and winter, and here are
some of the nominees for applause and attention.
Marilyn Miller, dazzling song-and-dance idol of mu-
sical comedies, who will be seen in "Sally."
Ann Harding, suavely charming actress of "Paris
Bound" and Ronald Colman's "Condemned."
Irene Bordoni, French-accented and piquant come-
dienne appearing in "Paris."
Joan Bennett, registering already in "Bulldog Drum-
mond," and the busiest leading lady in filnidom. A
cameolike beauty.
Maurice Chevalier, whose first real opportunity comes
in "The Love Parade." He has been seen already pleas-
antly, in "Innocents of Paris," though it was a poor
story.
Moran and Mack, who should, like the Marx Brothers,
be good for one round of laughs, anyway. They're
the "Two Black
Crows" of vaude-
ville fame.
George Arliss,
superlative charac-
ter actor.
Other possibili-
ties include Dennis
King, Ina Claire,
Constance Bennett,
the Duncan Sisters,
and little Helen
Chandler, who is
cast in "Salute,"
with William Jan-
ney and George
O'Brien, and Cath-
erine Dale Owen,
leading woman for
Jack Gilbert, in "His
Glorious Night."
It's almost a grab
bag out of which
any one can take a
pick, when it comes
to other possibili-
ties, and one thing
is assuredly a fact
— stage prominence
won't mean a thing
for the success of most of the film newcomers. They'll
have to make good all over again.
Ooh, La, La, Maurice!
The talk of the town is Maurice Chevalier, and yet
one must regard with puzzlement the news that he has
gone back to France. Of course, it is said that the trip
is only for a visit, but then, who knows ? Will he re-
turn or not ? One remembers the case of Emil Jannings
and other artists considered exceedingly popular.
At all events, Chevalier made his big personal hit at
the premiere of "The Four Feathers." He was master
of ceremonies for that function, at the United Artists
Theater, and instead of taking his duties seriously, he
very cleverly burlesqued them. He travestied particu-
larly that type of star introducer, who. while he is talking
to the audience, walks back and forth across the stage.
He gave the impression that he was doing a sort of
marathon.
Chevalier has a real understanding of American audi-
Photo by Hesser
Edward Hillman, Jr., gives Marian
she's now his very
Items of news and gossip from the ever-changing
capital of moviedom.
ences, and is so genuine that it would be a pity if the
right role did not come his way to make him a universal
success. His first picture did not please everywhere,
unfortunately, but in some cities, it was an extraordinary
hit. It ran for nearly twenty weeks, for example, in
San Francisco.
Much is anticipated for him in "The Love Parade."
Lupe Turns Serious.
Well, well — good news at last ! Lupe Velez is really
taking her work seriously. But that's perhaps because
she has a role that
she truly loves, and
when Lupe loves
anything, it is al-
ways ecstatically.
She is playing in
"Tiger Rose," and
will have a chance to
use her natural ac-
cent. The heroine
originally was a
French-Canadian,
but a Spanish inflec-
tion probably will do
just as well.
Lupe had a squab-
ble not long ago with
Herbert Brenon,
when she was sup-
posed to appear in
"Lummox." She was
late on the set, so
it was told, but now
she has reformed
completely. She has
been on time every
day, and studies her
dialogue so zealously
that she knows it
backward, and takes
occasion to chide, more properly "bawl out," the other
actors, if they are not up in their lines.
The Cost of Victory.
Will it come to that stage where Lon Chaney will
have to pay bitterly for his years of affording pleasure
to his public ? Sometimes we have feared it.
Chaney has been on the sick list for weeks, first with
influenza, and later with throat trouble, and though his
illness might not be directly traceable to the physical
strain that he has put upon himself, with his many
weird and misshapen impersonations, undoubtedly these
have constituted a menace to his health.
Chaney had to give up playing in "The Bugle Sounds,"
and Wallace Beery took his place. It is expected that
he will soon be able to work again, but there is little
chance, we hear, of his assuming any of the more taxing
and grotesque characters that he at one time undertook
so frequently.
Nixon that beatific look, because
own little bride.
I I -*n( l/\ ^rL l/\+i
a » t m/ ■
J^di^hi^^I^lza Ochallert
Erudite and Playful.
Do yon know how to play Guggenheim? No, it's a
game, not a character in a picture, and we were intro-
duced to it at Colleen Moore's not long" ago. This latest
indulgence is in the intellectual class, and requires a
knowledge of everything from the most obscure writings
to the very latest advertising slogan. The playfulness
of the stars is nothing if not erudite.
Guggenheim remotely resembles a cross-word puzzle.
To play it, one draws six vertical lines on a piece of
paper, and then crosses them with six horizontal lines.
If this is done cor-
rectly, it should give
thirty-six squares
like those in .a
cross-word puzzle
— only they should
be larger than the
puzzle squares.
The square in the
upper left-hand cor-
ner is left blank.
The five squares
under that, on the
left-hand side of
the paper, are filled
in with so-called
general categories.
Anything like riv-
ers, islands, flow-
ers, names of mo-
tion pictures, names
of stars, names of
famous battles —
not that they have
any relation to pic-
ture stars — will do.
The i\ve squares
at the top of the
page are then filled
in with a five-letter word — one letter to each square.
As previously stated, the first square is left blank. Some
five-letter word, like "peach," "pearl," "crane," or any-
thing else that pleases, may be chosen.
Then begins the fun. You are given twenty minutes
to fill in the remaining squares, and the procedure is to
use only authentic words or names opposite the general
classification. Each one of these must begin with the
letter that is in the vertical space at the top of the col-
umn in which it is placed.
The more unusual the words chosen, the better wil!
be the score. If there are nine people in the game, nine
is the top score, and is allowed for each word that is
not chosen by any other person in the game. If two
persons happen to pick the same word eight is allowed :
if three, seven points, and so on. The total of the points
allowed for each word is added, and the person is de-
clared the winner who has the highest score.
Great arguments ensue, if unusual words are chosen,
and this adds to the fun. Those participating in the
game have the privilege of turning thumbs down on any
Charles Farrell's mother has come
son and enjoy huckleberry muffins
51
word chosen, if the person writing it cannot absolutely
prove that he- i- eomet in using it. If there i- dou' ■
vote determines whether In- shall have the point
awarded a go No referring to the dictionary i-
permitted, under peril of one's lif
Contending Intellectuals.
Those who entered the tierce competition at Cob
home included, anion- others, Bebe Daniels, Julanne
Johnston, Ben Lyon, and Carmelita Geraghty; but the
highest score went to Carey Wil -on, the scenario writer.
The big event-, were when some one tried to slip by the
name of the card game "euchre," spelled with a "u."
and some one else contended that "scene-Stealing" might
be listed under the heading of "crime-." The shouting
at moments like these could have easily been recorded
in microphones ten miles away.
Colleen Moore's new home i-. by the wav. a most
attractive hacienda. It has all the usual appurtcnai
of swimming pool, tennis court, motion-picture theater,
et cetera, and one of the most distinctive features :
guest room entirely separated from the house. The
buildings are low
and rambling, and
constructed in the
form of an open
square. With red-
tiled roof and white
walls, it is dis-
tinctly Spanish-*
ifornian. Its sun
parlor is huge, ex-
tending the full
width of the build-
ing. Colleen her-
self is furnishing
the manse, room by
room, and she h; -
plenty of vacation
time to do this,
since the comple-
tion of her contract
with First National.
The New Democ-
racy.
Guests at Holly-
wood affairs these
out to Hollywood to live with her days are an inter-
before a New England fireplace. estihg commingling
of stage and screen
celebrities. In the beginning, there was little mixing ol
the two groups, but the walls are gradually being broken
down. One reason for this is the fact that many star-
have changed their associations, and that since the Equity
trouble, there has been much interchanging of players
by the various studios. Acquaintances and friendships
nearly always begin through professional meetings on
sets.
At Bebe Daniels' recently we found a compositi
semblage, including Beatrice Lillie, Walter Catlett, John
Boles, Hen Lyon, Louis Wolhcim, Marie Mosquini, who
is an old-time friend of lichc's. and others. At another
party given by Wesley Ruggles, the director, with Kath-
ryn Crawford, to whom he is reported engaged, acting
as hostess, were Xeil Hamilton. Olive Tell, Sally Eil
Lila Lee. Richard "Sheets" ( iallagher, Thelma Todd.
Viola Dana. Laura La Plante, and Walter Catlett.
Six months ago one could be sure of finding nearly
the same group together at any particular set of affair-,
but now all is apparently changed with the coming of a
new democracy.
52
Hollywood Higk LigKts
Voice Fixers Now.
Face lifters will now
have to retire in favor of
tonsil removers. And, as
usual, this changed state of condi-
tions will have to be attributed to
the talkies.
Somebody has projected the the-
ory that tonsils interfere with a
vocal career by causing a muffling
of the voice, or too much vibra-
tion.
Several stars, among them Es-
telle Taylor, have undergone the
operation with a view to improv-
ing their enunciation.
Here's hoping that this new fad,
if it is that, doesn't become too
epidemic. It will, though, don't
worry.
Equity Tempests.
Equity contentions are bringing
on strange, new disturbances for those
working in the movies. Minor players
are frequently besieged at the studio
gates, and urged not to play in pictures,
until the rights of the actor under Equity
rule are recognized. In other cases, ru-
mors have been heard of players dread-
ing being hit by falling lights.
In this connection, Douglas Gerrard
was recently the victim of a practical
joke. A rock was hurled through a
window of his home, on which was
paper bearing the word "Beware"
and signed "Heck-quity." For
two days afterward. Gerrard went
around with a body-
guard, but he discov-
ered that a friend was -
merely playing a trick
on him.
Paul Whiteman
isn't troubled by
the delay in start-
ing "The King of
Jazz," because he
likes Hollywood.
Charles Farrell cheerfully
submits to the special
stretching exercises of
those two amateur osteo-
paths, Richard Keene,
left, and Nick Stuart.
Tom Again Under Fire.
What next ? Tom Mix may well ask this question. Mix
is touring with a circus, but word reaches us of both his
success and his troubles. Tom has already had his griefs
with the government over income tax, and now he has been
sued for $400,000, because of alleged breach of contract
with the proprietor of another circus than the one in which
he is working. Tom also is reported to have lost a very
beautiful diamond-studded watch that he valued highly.
Tom's affection for jewelry is well known.
The Mix house in Hollywood is to be sold, ac-
cording to latest reports, and the wife and daugh-
ter of the star are living at the beach. They will
probably remain in the vicinity of the film colony
until Mix's return.
Ingenious Betty.
Income-tax troubles, in a new form, bothered
Betty Blythe's otherwise quiet and peaceful life
recently. Her tourney was with the British collec-
tors, and to add insult to injury, the bill that was
forwarded to her was dated the Fourth of July.
Betty, so the foreign revenuers state, owes them
$3,000. It is their share, they say, of the money
that she earned on her vaudeville tour of Europe.
Betty objected on the ground that she had not
been in England for six months, and therefore was
not liable to being taxed. "I was there just five
months and twenty-nine days," she said, "and I'm
not going to surrender my rights in those circum-
stances."
Their Devoted Guide.
Most people, who know of the careers of Do-
lores and Helene Costello, must have realized what
a deep loss the death of their mother was. Mrs.
Mae Costello passed away suddenly a few weeks
ago. She was a victim of heart disease, and her
age was forty-seven.
Unquestionably she was responsible for the very
entry of her daughters into the films, and guided
their progress with indefatigable inter-
est. She literally devoted her life to
their welfare, and was happy to behold
their success. Before their respective
marriages, she accompanied them
everywhere, and undertook virtually
all the responsibilities of their lives.
Mrs. Costello was. at one time, the
wife of Maurice Costello, and she her-
self appeared on the screen under the
name of Georgia Maurice.
Nancy Drexel Resumes.
Nancy Drexel, who always struck
us as a most promising youngster, will
have her chance again. She is at
Fox's, in "New Orleans Minstrels,"
playing the only important feminine
role in this picture, which features
William Collier and Walter Catlett.
Now, Nancy, try to steal a few
scenes, if you can, from those two
old stage players !
Bathing Girl's Suc-
cessor.
It used to be that
specifications were
formally issued for
the bathing girl,
telling her height,
weight, age, et cet-
Hollywood Higk Ligkts
53
era, and including even more detailed measurements of
arms, ankles, and legs. Now it's the chorus girl of the
movies who enjoys this popular broadcasting of her
charms.
Hollywood's typical chorus girl is discovered to have
the following attributes: height, 5 feet 3 inches; weight.
108 pounds; age, 19 years; hair, bobbed and light
brown; eyes, blue. No mention is made of the dimen-
sions of biceps and calves, for the reason that the mere
beauty of these is not so valuable. The film chorus is a
dancing chorus, and athletic Terpsichorean performances
rentier the minor details of shapeliness somewhat less
important than they were in the good old days, when it
was plastic pulchritude alone that counted.
It is further disclosed that the typical chorus girl
is ordinarily born in the Middle West, lives with her
family, and does not adopt an assumed name on the
screen.
The one-hundred-per-cent typical girl is said to be
Maxine Cantway, under contract to First National. The
attractions of one hundred and seven girls furnished
the basis of the decision, in which Miss Cantway won
out.
If Georgiana, Loretta
Young's little sister, is
as nice as Loretta is
when she grows up,
she'll beautify Picture
Play's cover, too. That's
a promise!
The Sisters of William.
All the talent in the
Haines family is not con-
fined to William, famil-
iarly known as Bill, or
Billy. He has two sisters,
who are also bent on tak-
ing at least a fling at the
movies. One is Ami and
the other is Lillian, and
they are both younger
than their brother. Per-
haps you can catch a
glimpse of them in "Navy
Blues" when that produc-
tion is released, although
the parts they play will
be small.
The girls, who are from
Staunton, Virginia, have
been paying a summer visit
to the star of their family.
Talkies Smile on Doris.
Little by little Doris Hill is fighting her
way up the trail to fame, and talkies are
bringing her more good luck than silents did.
She started in a bit as a flower girl in "In-
terference," and is now doing her first genuine
"The Children."
"The Studio Murder Mystery" helped a little,
new picture, adapted from the Edith Wharton
promises to be the most auspicious yet. Fredric
is the male lead.
lead in
but the
novel.
March
Opposed to "Junior."
Raymond Hackett will never be happy until he changes
the name of his youngster, born a month or two ago.
In a weak moment, he consented to the boy's being called
Raymond, Jr., largely through the persuasions of his
attractive wife, Myra Hampton.
Now he wants to renege on the agreement. "James,
George, John — anything but Raymond would do," he
exclaimed. "I think it's the height of vanity, though,
for a man to permit his son to be named after himself."
We suspect, though, that the youngster's mother, who
is very devoted to her husband, is going to rule in this
case, despite all paternal objections and expostulations.
Buddy's Stock Goes Up.
Charles Rogers is a smart young financier, and if
this seems astonishing news, just consider what lk-
achieved in Chicago during bis personal appearan
there. Charlie sang and also played some instrumental
numbers during the run of his film, I Harmony,"
and made a most amazing bit.
While he was on this detached service from the studio
bis salary went right on as usual. Also he received an
amount equal to that stipend from the theater. Then,
when he became homesick, and asked if he couldn't
return to I [ollywood, the Chicago people wouldn't let
him go, and offered to double what they were paying
him, if he would stay.
Buddy now has made up his mind that he can be a
business man any time he finds it necessary to leave the
screen, and he also contends that homesickness is one
of the most profitable maladies he knows.
Greta, the Mute.
Again will Greta Carbo be a silent star. And why
should she stop' Her pictures seem to be record bits.
despite that she does not
talk.
When she made "Tin-
Single Standard," it was
announced that this would
be followed by the audible
"Anna Christie." Instead.
the company interposed an-
other mute production, di-
rected by the Belgian,
Jacques Feyder.
Somehow this decision
appears to be very well
gauged. Greta's elusive
charm might vanish were
her voice heard. In any
event, it had better be good.
Others Goldenly Silent.
Only a scant half a dozen
or so of prominent players
are on the silent list to-day.
Besides Greta, there are
Lon Chancy. Renee Adoree,
Dolores del Rio. Charlie
Chaplin, and Nils Asther. They are all popu-
lar. The majority, even Chaplin, would prob-
ably speak with an accent. So too would
Ramon Novarro, who is making his first dia-
logue feature. While Ramon has never spoken
lines, his voice was heard in "The Pagan," because, con-
trary to rumors that a double sang, he did carol "The
Pagan Love Soik
Asther had a few words to say in "The Holly
Revue," but these were eliminated. It was not deemed
propitious for him to make a talkie debut in a feature
of this sort.
Chaplin is apparently unalterably opposed to talk, but
if be ever decided to take the leap, what a marvelous
burlesque he could do on the vocal films of to-day. Those
who know Charlie as a drawing-room entertainer realize-
that his mimicry is not limited to pantomime. H<
clever, too, with his travesties of the spoken word.
Griffith's Magnum Opus.
With no small solemnity are preparations being made
for D. W. Griffith's entrance into the talkies. His •
picture will be the life story <-i Abraham Lincoln. It
will be the sort of picture, we are assured, that he
Continued on page 100
54
Tkat Nameless
Something
Kay Francis has it in her manner of wearing
clothes, which sets her apart from the many and
makes her one of the very few.
The utter simplicity of
Miss Francis* outfit,
left, would be trying to
a woman less smart, but
the actress relieves the
dusty brow- of her
tweed ensemble by
wearing a blouse of
lemon yellow.
She combines navy
blue and black,
right, with utmost
chic, her frock be-
ing of navy crape,
with a silver-fox
scarf and slippers
creating the black
notes.
It is in the lines of her
(veiling gown, right, that
Kay Francis achieves sub-
tle distinction, for the
costume is merely of black
crape and tulle — ah, but
look at the silhouette !
Her lounging en-
semble, above, in-
cludes a robe of
red, white and
black, white blouse
and black satin
trousers that boast
a flare of side
plaiting.
In no other costume on
this page does Miss
Francis better demon-
strate the effectiveness
of simplicity than is
seen, left, in her town
ensemble. The sleeve-
less frock of green
crape is plaited and
tucked, while the jacket
is embroidered with a
band of white dots.
Hat, gloves, bag and
shoes are white.
OJ
Photo by Dyar
A small sign, but a significant one — the ease with which Fredric March poses with a kitten. Yes, he'll
stay in Hollywood.
Freddie For Keeps
For many good reasons an alert interviewer predicts that Fredric March will not return to the stage, but
will remain in the movies.
B>> Helen Louise Walker
HOLLYWOOD swarms and swirls with a thousand
new faces these days. On the set. when you can
get on one, at the Montmartre, at premieres — all
is confusion. You have no way of knowing who is a
potential picture celebrity, and who is just another tour-
ist trying to look like one. And, by the way. it must
be a little hard on the tourists, too. How are they to
tell, when they write home to the folks, whom they
saw eating ham and eggs right at the next table?
Excited press agents dart up to one, crying out the
news that Angela Le Moyne, or somebody, has just
been signed to sing and dance in such-and-such a pic-
ture. "What? You never heard of Angela? Why, she
was the tap dancer in the 'Joy Jinx Revue' ! Three
years on Broadway "
Oh, yeah? Does Broadway know it, we wonder?
Oh, well, some of these people are going to get breaks
and make good in pictures. Some of them. But which
ones? It is as likely to be Angela as some one whose
name has flourished in electric lights for years.
There is, of course, Fredric March. I am willing to
venture timorously — one lo-.es one's habitual cockiness
about prognosticating nowadays — that Freddie beloi
to Hollywood for keeps.
He is a young stage actor of unusual and particularly
appropriate accomplishments. Essentially a character
man, his technique is as pictorial as it is vocal. And
he has been very fortunate in the circumstances sur-
rounding his excursion into pictures.
He came to Los Angeles to play the role of Tony, m
''The Royal Family,'" the stage play which purport
present a picture of the Barrymore family at home.
Tony, of course, would be the irrepressible John, and
Fredric March's portrayal of that impetuous celebrity
was more than an imitation. It was delightful carica-
ture. Although younger, smaller, and darker than the
scion of the Barrymores, he nevertheless managed, with-
out resorting to trick make-up, to look amazingly like
him. The exaggerated walk, scowl, and character
gestures sent the original himself into howls of mirth
when he and Mrs. Barrymore attended a performance
of the play.
The result of all this was that Paramount seized :
die and promptly put him under a long-term contract.
"It has been a great break for me." he says, "that
the people with whom I have worked have been doing
something almost as new to them as the whole picture
business is to me. It must have been very tough on s'
actors who came out here to try to work in silent
hires. One would feel like a rank amateur. I -
think."
Freddie was lent by Paramount to Bathe, to play
opposite Ann Harding, in "Paris Bound," and we w
sitting on one of the new sound stages as we talked. Ik-
was quite resplendent in morning coat and striped, gray
trousers, with a chaste lily of the valley in his button-
hole Miss Harding, in her ivory satin and lace, was
almost too gorgeous to be real. [Continued on pag
56
Photo by Louise
Anita's eager enthusiasm is not clouded by artistic poses, or strange
yearnings, for she has not "gone movie."
IS youth going natural again? Are boyish silhouettes
and wise-cracking and semisophistication out?
The steadily increasing popularity of Anita Page
adds to the present indication that the flapper has streaked
her carmined path through enough jazz jingles. A new
and less hectic type of girl, adapting the valentine-fem-
inine allure to the vital, modern mold, is prevalent at
all the studios, and is personably illustrated by Anita.
There are no half tones about Anita. Her opinions
and contagious enthusiasms are those of gloriously peppy
eighteen, a friendly and an astonishingly inexperienced
eighteen. The steady gaze of her blue eyes echoes a
candor untrained to guile, and they hold questions there
before you. There is an unvoiced but tacit reminder in
the significant glances all about you, that you must an-
swer her questions in ways best for her.
Her provocation is wholly artless, and therein lies
her charm. When Anita learns the power of her appeal,
its freshness will be smudged. Chattering like a magpie,
she pokes a smile into offices and, by the very alchemy
of her youthful zest, rubs the gloom from dour faces.
She is sparkling, eager to be about the day's business.
What a relief from poses and conversational mazes
through which one must wander, seeking hinted mean-
ings ! In her simple sport frocks — admitting apprecia-
Holl^vtood's
Anita Page leads the rising group
ened the supremacy
B? Myrtle
tively that some of them were given
her for posing publicity pictures in
them — she takes a lease on all eyes,
however blinded said orbs may be by
the opulent beauty of a Dove, the
perfect chic of a Joyce, or the capers
of a Bow. And how restful this
blunt, joyous speech of hers, un-
trained to the movie interview man-
ner.
With Anita, the improbable has
happened. Eighteen months ago I
met her. the day after she had signed
an M.-G.-M. contract. Amid dis-
covery's flurry, publicity photos, cast-
ing, and costuming, everything was
one grand, breathless whirl of ex-
citement, work, and being liked.
And I'm Al Jolson if it isn't still
that way !
I have been waiting, with that
usually unerring premonition based
on experience, for Anita to "go
movie." According to custom and
human nature, it had to be. She
hasn't. There are outward evidences
of her career — the imposing motor
in which sit her proud parents and
her kid brother, trying like the dick-
ens not to act impressed, a certain re-
membrance of her profession which
follows her, in public taking the form
of recognition and requests for auto-
graphs, at home the scheduled care
of her.
Otherwise she is unchanged. Her
bubbling vitality never seems to need
recharging ; she never slumps, tired, pouty, chagrined.
Criticisms .and disappointments she accepts cheerfully,
as just and beneficial.
Everything that is said to her, she believes, is for her
own good. At the very outset, every one in the studio
tacitly accepted the rule of looking after 'Nita. The
boys became surprisingly careful of their speech, lest
some term foreign to her inexperience creep in, each
making himself a manager and bodyguard. It strikes
me as rather curious that her father, knowing nothing
of picture making or conditions, should have the intui-
tion to select from among this maze of proffered advice
the most sensible and meritorious suggestions.
Her career is being built methodically, as one would
plan and execute each step of a business campaign, all
mapped out. She would be just an invoice, except that
she imbues all this meticulous, detailed arrangement
with her own bright spontaneity.
Her course is charted with careful consideration of
all the winds which might affect her navigation. All that
is influential to her career is incorporated in her busy
schedule ; the irrelevant is shunted aside. She is to be-
come a success, provided her talent develops and the
public approves her. Nothing will be permitted to de-
tract from this single purpose. For it, to please her
S7
Nine Oclock Girl
of natural, girlish girls that has already threat-
of the hey-hey sorority.
Gebhart
mother and to gratify her wish, Marino Pomares
gave up his business hack East and placed himself,
alter being the breadwinner, in the outwardly nebu-
lous position of a movie actress' father.
Outwardly, I say, for he is still the head of
the family. All things pass before his judgment.
A robust constitution being necessary, if she is
to endure the strain of long hours and the tension
of emotional work and not develop nerves, her
health is guarded. When she is working, the rule
is a nine thirty bedtime, unless the occasion he a
very special one, such as an important premiere
at which it is politic for her to be seen. As many
spare hours as possible are spent swimming or '
golfing with her father. She is not permitted to
drive, for fear of accident. Fresh air, exercise,
sensible food — she has displaced those pounds
which for a time threatened a too-ample upholstery
— and study are included in her program.
Parties are rare. Only once, with the German
Prince Ferdinand, was she allowed
to go out in the evening with a man
unchaperoned.
"Of course, I must have a chape-
ron." It required effort to divest my
face of its unconscious where-have-I-
heard- that -word -be fore expression.
"It isn't that my father doesn't trust
the hoys — they are all very nice —
but they speed, and he is afraid of
an automohile accident."
So that when
Harry Crocker,
or another swain,
takes Anita to
the theater, to
Catalina, any-
where, Mr. or
Mrs. Pomares
accompanies them.
The hoys say they like
the arrangement. Her
parents are jolly good
fun. Perhaps, too,
the youths are fed up
with the flappers who
"know life," with all
its picot edges, and
find this experience
novel and refreshing. Whatever
their personal reactions to the
archaic custom, Anita is no wall-
flower when she attends social
affairs. Papa or no papa, the
hoys hang around.
Anita's earnestness, her avidity
for work, belittle my poor vocab-
ulary. Every actress has an in-
^#™*"
Photo by Bull
Anita's great concerns are career
and health, so daily exercise and
early bedtime are two fixed rules.
Papa or Mamma Pomares
chaperons Anita when she
goes places, and the kid
brother has his innings, too.
tensity of application to duty
that any business man might
well wish his secretary pos-
sessed. A girl who
lacks this capacity
for work would
stand small chance
in the scratching,
pulling, fighting
competition of I fol-
ly wood, where an
ingenue grows on
every rosebush.
Anita's absorp-
tion, h o w e v e r .
shames all other.-.
It amounts to a happy obsession.
From the first it has been work.
study, learn ; into this routine she has
poured all her vital Spanish energy,
all her French vivacity, all her Irish
imagination.
Until she acquired ease of man-
ner on the set. the next day's scenes
were rehearsed minutely by the fam-
ily at home each evening. Papa Po-
mares might be hero or villain — I
dare say at times he was none too
sure! — and her mother, bewildered,
was the cast, individually and collec-
tively: sometimes, one or the other
even had to he a prop. Anita went
through her scenes until she had
Continued on page 105
58
Tke Stroll
er
Shrewd comment on the idiosyncrasies of the movies and some of their people.
By Neville Rea?
Illustrated by Lui Trugo
IT'S all a question of credit — or credits.
From time to time the industry has heen agitated
hy moves to eliminate credits on the screen, the
idea being that the extra reel of film would give the
producers something to play with in their effort to
achieve entertainment. An extra reel of action would
be room enough for a glittering, gorgeous galaxy of
emotional play by Sarah Heimer, the most scintillating
beauty on the screen — with a tintinnabulous voice as
full of meaning as an assistant director's promise of
stardom.
My opinion — having seldom written anything that
could get screen credit — is that these beautifully molded
titles with strange names, that sound like a passenger list
on the combination freight-
passenger local to Center-
ville, could be eliminated
without loss. And I fur-
ther suggest that this footage
be not filled by action, but be
used for the philanthropical
purpose of shortening the
show. I further hope that
this will not encourage ex-
hibitors to toss in another
painful talking short of some
third-rate vaudevillian, who
needed the one hundred dol-
lars for giving his act away
to save himself from starv-
ing.
We didn't have to go to
vaudeville unless we wanted
to, in the past, but now if we
go to pictures at all, we must
take it or leave it.
Film editors, assistant directors, wardrobe designers,
and prop boys probably insist upon the credits, under
the illusion that they have fan clubs all over the country
adoring them and picking out the pictures they work on
to honor with their attendance.
To become logical for a moment, what do their names
mean, even in Hollywood ? They have nothing to do
with whether a picture is good or bad. They have to
work on whatever picture is assigned them. The work
is the same on a flop as it is on a hit, so far as these
people are concerned.
However, it does help some of them personally in
Hollywood. If, by chance, they work on a hit, they
flash a copy of the title on some producer and maybe
get a job at some other studio. Not to complicate this
matter too much, let's use the screen for these credits
only in Hollywood. Use a slide like the following:
New shows on Broadway are lacking in fresh
music, because the first, second, and third-rate
song writers are all in Hollywood cleaning up.
Wardrobe— Joe Shoe. Fired Sept. 15. Tel. Gr. 9999.
Props— Sam Cohn. Fired Aug. 10. Will take $20 a
week. Tel. Gr. 2070.
I feel certain no one would ever telephone a studio.
But this is all a bit futile. Talking pictures have more
than 'doubled the credits, and color photography has
added its line. Now we include the names of sound
engineers, recording experts, song writers, music pub-
lishers, the electrical company, and we even know which
of several methods is used to produce sound — provided
we read the titles.
Since the thing has gone to such ends, I am in favor
of putting the thing on the up and up. Let's be honest
and give credit where credit is
deserved, even if it adds to the
length of the reading matter.
Let's do it this way.
SIMON PURE
PRESENTS
"ORANGE PASSION"
STARRING
CACTUS BLOSSOM
Face Mr. Blossom
Voice Otto Schultz, Jr.
Feet, in dances
W. Nathan Tobriner
Hands, in pantomime
Jim Thomas
Body, in fights Donald Kirby
Double, for stunts
"Longshot" O'Brien
Double, for love scenes
E. L. Davis
Then when all that's done, let's form a fan club and
go gathering nuts every Saturday afternoon.
For some one to compose an eighteen-day-diet cross-
word puzzle would be one of the heights of something,
combining, as it would, two forms of common insanity.
The only thing I hope is, that the diet won't get
space on the printed page as long as cross-word puzzles
have.
I am printing herewith The Stroller's special diet for
Western stars' horses. Breakfast — one wisp of straw,
two grapefruit seeds, water ; lunch — two munches of
fresh grass, one quarter carrot, water, one grapefruit
seed ; dinner — ten grains of oats, one grapefruit seed,
tea.
When the horse has come through this, send him to
President Hoover for exercising — or eating.
Tke Stroller
59
People who have nothing else to do are turning into
collectors of statistics.
One o' the Hollywood newspapers actually had people
on the corner of Vine Street and Hollywood Boulevard
counting the number of automobiles which passed the
intersection, and noting which way they went.
The figures passed into the millions during a month.
Every car that came to the crossing was counted by
one man, and every car which left the crossing was
counted by another, making the thing more darn fun.
Actors out of jobs, but still retaining their cars, used
to spend the day driving around the block, or making
U-turns at the crossing to increase the labor of the
dockers, figuring that it was possibly one of the most
enjoyable ways of spending a between-pictures vacation.
If the dockers could only be placed at studio gates
to count the number of ideas taken in, they would be
equaled only in labor by those clocking the ideas coming
out ; while the task of figuring how many ideas remained
within would be an easy job for Stepin Fetchit.
An indoor sport which receives my heartiest coopera-
tion has broken out at the Coconut Grove.
The tourists flock there on Tuesday nights to see the
celebrities — people will flock to see anything — and dance
near them.
Then they write back home, "I kicked John Gilbert in
the shins." "I poked Charlie Chaplin with my elbow."
"I bumped into William Haines so hard he fell down."
"I jabbed Buddy Rogers in the eye with my finger — oh,
his flesh was so soft, like a baby's."
Although it has driven many of the stars to going
other nights of the week, I think this is a great idea. If
we only had hardier and huskier tourists. If I could
only get some of my pet hates to attend during a con-
vention of lumberjacks from the great outdoors, this
would indeed be bliss.
As one of the tourists was heard to remark, "A good
kick in the shins is worth ten answers to fan letters ;
while a poke in the eye is better than an autographed
picture."
A wee bit of late warm weather is causing trouble to
sound stages. Once, during the summer, an experi-
mental press agent at the First National studio put a
thermometer on a set during the day, and found the
lights ran it up to 135 degrees.
If it had been a Greta Garbo kiss scene, that could
have been ex- ^^
plained satisfac- /^^^\
torily. This sug-
gests a new field
for practical and
experimental
psychology.
The reactions
of the air to the
star should be
measured to
prove once and
for all that
Mary Brian
is really not
cold, but runs
the tempera-
ture way up
to 118; Clara
Bow to a tor-
rid 146; Bac-
lanovato 184 ;
Janet Gaynor
to 80; and
May McAvoy
to 30.
A wax fig-
ure of Joe
Gans dripped
away at the
Fox studio
because of too
great proxim-
ity to a story
conference.
"A good kick in the shins is worth ten
answers to a fan letter," said a tourist
who danced by a star at the Coconut
Grove.
A newspaper with a statistical
mania stationed two men on Holly-
wood Boulevard to count cars go-
ing in each direction.
To appreciate the great change in the personnel of
Hollywood one has but to meet a few song writers.
Heretofore we were never bothered by this species,
but like a plague, they have descended upon us. They
have not only immigrated, but like an epidemic, they have
sprung up among us from our own ranks.
New musical shows in New York are strangely lack-
ing in fresh music for the simple reason that the first,
second, and third-rate writers are all in Hollywood clean-
ing up.
After all, if you have a motion picture to plug your
song you can get more in royalties than from the sale
of copies inspired by a limited New York plug. These
song writers can be heard over the radio at any time, and
they always play a medley of all the songs they have
written since they were first able to hit a piano with one
finger, many of them not having progressed beyond that.
One writer, in a moment of drunken stupor, admitted
that he had sold for a big picture three of the songs
which he wrote five years ago for a New York musical
show which was a dismal flop. And music dealers list
two of these numbers as best sellers.
The way to tell a song writer from a human being
is to look at his eyes and fingers. If his head swings
back and forth, his eyes shift
rhythmically, he appears to be
muttering, needs
wears a dirty collar, he is either a
song writer, or a two-reel comic.
But if his fingers keep drumming
the table, and he can talk about
nothing but his unusual ability and
the strange conditions under which
he composed the masterpiece, you
will know instantly that you have
Continued on
117
shave, and
60
HoW to Break In
Eddie Nugent, the resourceful, gives five priceless
hints to those who want to get into the movies.
Plenty of pull is the first requisite,
says Eddie Nugent, above, and pro-
ceeds to show
the kind
means.
You must learn to "sell" your-
self as Eddie does, left, never
missing an opportunity to speak
a good word in your own
behalf.
Eddie, left, ad-
monishes the
aspirant to pro-
vide himself
with a good
wardrobe.
A good voice is necessary, these days,
says Eddie, left, suggesting that you
watch his tone productions for the
best results.
Ah, and sex ap-
peal — most im-
portant, nay, a
necessity, Mr.
Nugent archly
points out, right.
GI
A Confidential Guide to Current Releases
WHAT EVERY FAN SHOULD SEE
"Thunderbolt"— Paramount. All dia-
logue. Romanticized movie under-
world, with exceptional touches paving
the way for excellent acting. George
Bancroft, as the king gunman, seeks
revenge by framing a rival lover, but
is himself undone. Fay Wray reveals
hidden talents, and Richard Arlen
scores. Good supporting cast.
"Dangerous Curves" — Paramount. All
dialogue. Rattling good picture, with
Clara Bow in a serious role. Heart
tangles in a circus troupe, with unex-
pected developments. Strong support
from Richard Arlen, and intrigue de
luxe by Kay Francis. David Newell
also a nice addition.
"Fashions in Love"— Paramount. All
dialogue. Adolphe Menjou's first talkie
and last picture for Paramount, and
one of his most engaging ones. Deft
story of philandering husband and a
wandering wife who went back to
their respective home nests. Fay
Compton, Miriam Seegar, John Miljan.
"Wonder of Women" — Metro-Gold-
wyn. Part dialogue. Dignified, beauti-
ful portrayal of a genius who fled from
his simple fireside to renew his associa-
tion with a prima donna and his awak-
ening to his true inspiration. Marvel-
ous acting by Lewis Stone, and Peggy
Wood ideal as his wife. Leila Hyams
the singer.
"She Goes to War"— United Artists.
Incidental sound. War picture with
unusual story and magnificent acting,
in which a girl dons her drunken
fiance's uniform and goes to battle,
and is awakened to real life. Alma
Rubens and Eleanor Boardman give
fine performances, and the talents of
Edmund Burns are brought out. John
Holland, Al St. John, Yola d'Avril, Glen
Walters, Kulalie Jensen.
"Studio Murder Mystery, The"— Par-
amount. All dialogue. Film studio
crime unraveled by gag man and po-
lice, with suspense, many laughs, and
after suspicion points to five persons,
a satisfactory solution is hit upon. Neil
Hamilton in leading role gives engag-
ing performance, Fredric March the
murdered actor. Florence Eldridge's
talking debut. Warner Oland, Doris
Hill, Lane Chandler, Eugene Pallette,
Chester Conklin.
"Where East Is East"— Metro-Gold-
wyn. Silent. Troubles of a jungle
animal hunter, who seeks happiness
for his untamed daughter. Lon Chaney
as you would expect him, Lupe Velez,
and Estelle Taylor in a brilliant role.
Lloyd Hughes also at his best. Splen-
did atmosphere and a picture to see.
"Man I Love, The"— Paramount. All
dialogue. Striking film of prize fight-
er's drifting and his come-back in the
nick of time. Richard Arlen's pleasing
talkie debut as the fighter who is cap-
tivated by Baclanova, but in the end
knows his heart is with his wife, Mary
Brian. Swiftly presented, engrossing.
Leslie Fenton effective.
"On With the Show"— Warner. All
dialogue, singing, dancing, and entirely
in color besides. Gayety and beauty of
musical comedy, with young love of an
usher and coat-room girl, with other
issues galore. Entire cast does well.
Betty Compson, Louise Fazenda, Sally
O'Neil, Joe F. Brown, William Bake-
well, Arthur Lake, Wheeler Oakman,
Sam Hardy, Ethel Waters.
"Bulldog Drummond" — United Art-
ists. All dialogue. A melodramatic
thriller, with sophisticated viewpoint
which makes fun of what transpires.
Story of bored ex-war hero, who ad-
vertises for adventure and gets it.
Ronald Colman vitalized and remade
by speech, giving memorable perform-
ance, ably seconded by Joan Bennett,
Lilyan Tashman, and Montagu Love.
"Madame X"— Metro-Goldwyn. All
dialogue. Old-time melodrama of
mother love superbly vivified by fresh
dialogue, modern direction, and superb
acting, with Ruth Chatterton and Ray-
mond Hackett as mother • and son
reaching heights of tear-wringing emo-
tion in famous courtroom scene, where
wretched woman charged with murder
is defended by son taught to believe
her dead. Lewis Stone, Eugenie Bes-
serer, Mitchell Lewis, Holmes Herbert,
and Ulrich Haupt.
"Valiant, The"— Fox. All dialogue.
Grimly uncompromising picture nota-
ble for introduction to screen of Paul
Muni, whose place among leaders now
is unchallenged. Story of murderer's
efforts to convince sister that her
brother is not himself, but a soldier
who died a hero. Marguerite Churchill
also fine, and John Mack Brown does
well.
"Pagan, The" — Metro-Goldwyn. Sing-
ing. Treat for Ramon Novarro's fans
and justification of all they've read of
his singing voice, which is delightful,
exceptional. Story of young South Sea
Islander's love for half-caste girl.
Dorothy Janis, Renee Adoree, and Don-
ald Crisp.
"Close Harmony"- — Paramount. All
dialogue. Lively, up-to-date medley of
backstage life, shrewd, clever, enter-
taining, with best performance Charles
Rogers has given in talkies, and an-
other by Nancy Carroll. Jack Oakic,
"Skeets" Gallagher, and Harry Green.
"Trial of Mary Dugan, The"— Metro-
Goldwyn. All dialogue. Courtroom
drama glorified in baffling mystery
murder of a chorus girl's lover. Norma
Shearer excellent in talkie debut, as ac-
cused girl. Raymond Hackett, a new-
comer, Lewis Stone, H. B. Warner,
Lilyan Tashman give fine support.
"Coquette" — United Artists. All dia-
logue. The "new'' Mary Pickford. in
fancy frocks and bob, essays a flirt
whose actions create drama in a small-
town Southern family. John Mack
Brown, John St. Polis, Matt Moore.
"Rainbow Man, The**— Paramount
All dialogue. An irresistible picture,
with finely balanced sentiment and fun,
with Eddie Dowling, tin stage star, and
his young partner, Frankie Darro, in
minstrel-show settings. They find
Marian Xixon and love and trouble.
Dowling is a knock-out.
"Divine Lady, The"— 1 ir-t .National.
Silent. A series of exquisite paintings
animated with poetic feeling and a little
drama. Lovely presentment of "Lady
Hamilton" by Corinne Griffith and
finely modulated "Lord Nelson" by
Victor Varconi. H. B. Warner, Ian
Keith, Montagu Love, Dorothy Cam-
ming, Marie Dressier.
"Alibi"— United Artists. All dialogue.
Crook picture, played and directed with
distinction. A cop's daughter sympa-
thizes with underworld, marries a
crook, but is soon disillusioned in a
thrilling climax. Chester Morris, Elea-
nor Griffith, Pat O'Malley, Regis
Toorhey supply high lights in action
and talk.
"Wild Orchids"— Metro-Goldwyn. Si-
lent. Greta Garbo in her best role,
rather slow, but impelled by adult emo-
tions. Java beautifully pictured. Nils
Asther and Lewis Stone. Triangular
love situation, a wife's admirer "pun-
ished.
"Letter, The"— Paramount. Enter-
taining eloquence and dramatic situa-
tions make this a milestone in all-dia-
logue films, and bring to the screen the
gifted Jeanne Eagels. A civilized pic-
ture showing the wrecked lives of an
English couple in Singapore. Stage
cast devoid of cuties includes O. P.
Heggie, Reginald Owen, and Herbert
Marshall.
"Iron Mask, The"— United Artists. A
picturesque tapestry, sequel to "The
Three Musketeers," superbly exploit-
ing Douglas Fairbanks. Story from
Dumas revolves around the throne of
seventeenth-century France. Mar-
guerite de la Motte, Dorothy Revier,
William Bakewell, and Ulrich Haupt.
"Broadway Melody, The"— Metro-
Goldwyn. An extraordinarily enter-
taining musical-comedy picture, human
in its appealing story of stage life, with
dialogue, song and spectacle. Concern-
ing two sisters with ambitions to make
Broadway, and a song-and-dance artist
from their home town, and their ca-
reers and loves. Bessie Love, Anita
Page, and Charles King top-notch.
FOR SECOND CHOICE
"Lucky Star"— Fox. Part dialogue.
A countryside idyl with Janet Gaynpr
and Charles Farrell. and the director
is Frank Borzage. As pretty and as
good as one would expect, the story
being that of a farm girl and her erip-
pled ex-soldier lover. Guinn Williams
is the bad, bad villain.
"Pleasure Crazed"— Fx. All dia-
logue. Wild scramble of nub drama,
[Continued on pace lit]
02
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Polly Moran, Charles King, Bessie Love, Gus Edwards, Marie Dressier, and Cliff Edwards contribute an amusing
number to Metro-Gold wyn's "Hollywood Revue."
creerv a RgVieur
g£ J\[orbert]usk
The parade of new films yields several notable ones as well as some brilliant
individual performances.
METRO-GOLDWYN'S long-awaited "Hollywood
Revue" at last unfurls itself before delighted
eyes. It is inconceivable that any eyes anywhere
— to say nothing of ears — will fail to see and hear it. Its
fame will travel far and its magnetism will drag doubting
souls into theaters wherever it is shown.
Glittering, gorgeous, and always entertaining, it adheres
to the form of stage revues so closely that there isn't
even a recurrent theme song in lieu of a story to bind it
together. Instead, it is a swiftly changing kaleidoscope
of songs, dances, and skits performed by so large a
number of stars that one is obliged to call them, some-
what apologetically, a galaxy. Some of the names fa-
miliar to fans are Marion Davies, Norma Shearer, Joan
Crawford, Bessie Love, Conrad Nagel, Lionel Barry-
more, Stan Laurel, Oliver Hardy, Anita Page, John
Gilbert, William Haines, Buster Keaton, Marie Dressier,
Charles King, Polly Moran, Karl Dane, George K. Arthur,
and Gwen Lee. Recruits from vaudeville include Jack
Benny, Brox Sisters, Natacha Nattova, Gus Edwards,
Cliff Edwards, and the Albertina Rasch ballet, not forget-
ting a huge chorus of prancing boys and girls who, as
much as any one, see to it that there isn't a dull moment.
■ Since there's no story to recount, your reporter must
tell you what the stars do and how they do it. When I
saw the "Hollywood Revue" on Broadway the most
spontaneous and lasting applause was evoked by Marion
Davies, Marie Dressier, and the Albertina Rasch ballet.
But this may differ in other communities. For example,
I can think of nothing more melodiously pleasing than
Charles King singing "Your Mother and Mine," nor
anything more like bathroom warbling than Joan Craw-
ford crooning something or other. However, her danc-
ing is another thing altogether. It electrifies her entire
body, which is beautiful, as you know. Miss Davies
also dances capitally and sings likewise in a handsomely
staged military drill with a sensational finish, in which
she appears in her favorite role, that of a smartly turned
out boy in uniform. She is utterly captivating, and the
burst of applause which followed it didn't surprise me
at all, for I contributed more than my share. The same
can be said of Bessie Love, both in her solo as well as
her amusing number with Miss Dressier, Miss Moran,
Cliff Edwards, Charles King, and Gus Edwards, a pic-
ture of which appears on this page.
Conrad Nagel also sings, as well as alternates with
Jack Benny as master of ceremonies, but as gentlemen
who function in the latter capacity always bore me in-
tensely, perhaps my appreciation of Mr. Nagel's vocal
efforts is necessarily tempered by the tedium imposed
in his other capacity. However, Mr. Benny monopo-
lizes the functions of interlocutor — a word, by the
way, which he slurred in pronunciation, as well as com-
pletely mispronouncing "conjure." Once again I nomi-
nate as a useful citizen in Hollywood a censor of pro-
nunciation.
Some day from somewhere will come a man with the
qualifications of a real master of ceremonies. He will
be suave, amusing, and civilized — and I'm sure he will
have the devil's own time getting a job.
Last, but not least. Norma Shearer and John Gilbert
perform the balcony scene from "Romeo and Juliet" in
The Screen in ReViextf
03
color, but all the color is, unfortunately, in the
photography, Mr. Gilbert's voice being too mincing
and affected for words — Shakespeare's glorious
words! However, when they burlesque the scene
in slang Mr. Gilbert shows that he hasn't spent
fifteen years in the studios for nothing.
Yes, the "Hollywood Revue" is vastly entertain-
ing from one standpoint and another. It isn't
conspicuously original or intelligent, but it is so
easily the best of its kind that one must not only
see it, but wait eagerly for the next edition.
Genius.
"Hallelujah" is a great picture — so great, indeed,
that the conscientious reviewer, overwhelmed, feels
that no words of his can convey its majesty, its
epic grandeur. For the words commonly used to
describe other pictures become pale, inadequate.
Enough to say, then, that there has never been
another film like it ; that it is the most American
picture ever produced ; and that it has the sweep
and surge of an opera rather than the emotional
appeal of a mere story. For it portrays the soul
of the negro race as no work has ever approached
the subject, neither sublimating nor ridiculing the
poetry, superstition, religion, music, sensuality, and
optimism inherent in all negroes, but combining
these qualities in a magnificent, sweeping whole.
The picture has no relationship to a dramatic
plot, but it is intensely dramatic, this simple story
of a young negro cotton picker, Zeke, who is lured
into a crap game, is fleeced, and in attempting to
wreak vengeance upon his enemy, accidentally
shoots his young brother. In atonement, he be-
comes a wandering preacher, conducting revival
meetings among his people. The girl responsible
for his downfall again comes into his life and,
first jeering at him, her scorn turns to love, her
love to religious hysteria, and the two go away
together. Again Zckc's enemy, the girl's former
paramour, appears, and their elopement is inter-
rupted by the death of the girl by accident and
Zckc's savage murder of the man. Released from
the penitentiary on probation, Zckc returns home light-
heartedly to the musical rejoicing of his family.
Indeed, music is the emotional expression most often
heard throughout the picture — the happy singing of the
cotton pickers, the crooning of the mother as she goes
about her work, her lamentations when doom is in the
air, and the superb outpourings of the congregation
when laboring in the throes of religious fervor. All this
is a glorious symphony of American melody.
As for the all-negro cast, not one of whom has ever
appeared on the screen before, perfection of type, of
acting and singing is so uniform that individual praise
is unnecessary. But let us not fail to spell out the name
of King Vidor, the director, in platinum stars.
Rough Stuff — and How!
"The Cock-eyed World" is a broadside, an explosion,
the only picture of its kind. But you must have heard
all this by now. Never have I known the fame of any
film to spread so quickly, to excite audiences on the
first warning of its coming and to keep theaters crowded
long after the time allotted to it.
Frankly, outrageously vulgar, profane, and abandoned,
it depicts the amatory exploits of two marine sergeants
— and it is irresistibly funny. In spite of whatever
qualms its immorality arouses, and notwithstanding the
shocking impact of its dialogue upon sensitive ears. "The
Cock-eyed World" quickly "gets" you. puts you in the
spirit of the thing, and immediately you forget yourself
Lily
sexes
Damita and Victor McLaglen wage the battle of the
for laughing purposes only in "The Cock-eyed World."
entirely and become one of the rowdy company on the
screen. At least that's what it did to me. and I dare
say thousands of others feel the same way about it. for
I have seen no one leave the theater while the picture
was in progress, whereas in the course of many a "nice"
picture it requires no clairvoyant to know that the per-
sons constantly departing are doing so from boredom,
and not to catch a train to the suburbs. But it i- not
only because of the racy, close-to-the-soil humor and
biological dialogue that makes the picture a success. It
is .superbly directed and acted.
What more is there to say? Of plot there is little or
none. Just a series of episodes involving Top Sergeant
Flagg and Sergeant Quirt — those immortals of "What
Price Glory?" — in- a continuation of their jealous rival-
ries in scenes that shift from Vladivostok, by way of
Coney Island, to an unnamed tropical territory. It is in
the latter that most of the ribaldry occurs, and it is there
that Lily Damita joins the boys to contribute more than
a lady's share to the rough indecencies of sex rampant.
And. really — but what am T saying. T who applaud Betty
Bronson for purity? — well. Miss Damita is a flaming
signal to forsake one's books and seek the tropic- '
As for Victor McLaglen. as Flagg, and Edmund
Lowe, as Quirt, they need no cue from me to pat them-
selves on the back. Fl Brendel. the comedian, is con-
spicuous in the horseplay, while Solidad Jimmez, the
mother in "In Old Arizona." again explains why her
daughters need never go to a finishing school.
64
"The Last of Mrs. Cheyney."
"Smiling Irish Eyes."
The Screen in ReVievtf
Backstage At Its Best.
It is not exactly a new story that you will see in "The Dance of
Life," but you will see it better clone than ever before, and the
picture in its entirety will rank with the finest of the new season.
Faithfully adapted from the play "Burlesque," it tells the story of
a tender-hearted little dancer who sticks through thick and thin to
her husband, a likable though worthless clown, whose dumbness
she overlooks and whose unintentional cruelty she forgives. All
this yields a series of brilliant character studies sharply etched
against the background of a cheap burlesque show and the screen's
most gorgeous and authentic representation of the "Follies." In
short, this is a picture to miss at your peril, for it will take its
place among the lasting successes.
Intimate, revealing, on the screen, it is hardly fair to reduce the
story to bare words. They could not do justice to the appeal of
the characters. This lies in their dialogue which deftly, completely,
uncovers their thoughts and emotions and causes the spectator to
share their viewpoint amazingly. The picture has the rare and
precious quality of awakening sympathy for every character. The
weakness of Skid, the clown, in neglecting Bonny, his wife, with
his first taste of success on Broadway, is made to seem a lovable
weakness for which you cannot reproach him, because you know
what manner of man he is. Nor do you resent Bonny's return to
him on the eve of her marriage to a good man as merely the striving
for a happy ending, for you know that it is what a girl like Bonny
would do in real life.
Flal Skelly, who played Skid on the stage, undertakes the same
role on the screen and acquits himself with glory. As for Nancy
Carroll — well, I don't know where she is headed for unless it be
among the immortals of the screen, if there are any. She is a
superb Bonny. Of all the singing actresses, she alone can best
express heartbreak while raising her voice in joyous song. Dorothy
Revier. as a "Follies" vamp, is excellent, together with every one
else in the cast.
The Great Garbo.
One of the most brilliantly searching moments of acting ever
seen in my fifteen years' observation of the screen occurs in "The
Single Standard." It is furnished by Greta Garbo. She washes
her hands, then her hair. Ah, but what is not back of this simple
act, and who could make it mean more ? Even echo is silent. Miss
Garbo stands on a pinnacle, alone. Only she could make the story
matter, or give it even ephemeral conviction, for it is a shallow,
pretentious flirtation with the subject of a woman's right to live her
life with the freedom enjoyed by a man. It proves nothing except
that in an emotional extremity a little child shall lead them.
Beginning with her love affair with an English nobleman dis-
guised as a chauffeur, who commits suicide, to avoid scandal for
them both, Ardcn Stuart, the girl who would live freely and fully,
meets Packy Cannon. Ex-pugilist, artist, sailor, he captivates her
and she embarks on a lengthy cruise with him. Comes the fateful
day when Packy thinks that enough is plenty, so he orders his ship
back to San Francisco. It is then that Ardcn, stunned and crushed,
stumbles into her cabin and abstractedly washes her hands and
then, crazily, her hair as if to cleanse herself of the torture that
consumes her.
Again in her old surroundings, Arden marries a suitor who has
faithfully loved her in spite of the lune de micl without benefit of
clergy. Three years later Packy, haunted by the girl he can't
forget, comes to take her away and Ardcn is all for going, until she
is suddenly made aware that her little son shall be the man in her
life from then on. How she comes to this conclusion is melodra-
matically set forth, but Miss Garbo succeeds completely in rising
above the theatrics of the exhibit and exposes a soul in torment.
Her performance throughout is something to treasure, while the
meretriciousness of the story and the glitter of the backgrounds
will further insure the success of the picture, particularly with
feminine free spirits who see themselves in Ardcn.
Nils Asther is Packy. I thought him fine. John Mack Brown is
the husband with a problem. Most people think him fine, too.
Others are Lane Chandler, Dorothy Sebastian, Robert Castle, and
the invaluable Kathlyn Williams.
The Screen in ReViev?
65
Pistols for Two.
If Buddy Rogers is your idol, you'll drool when you see him in
"River of Romance." If you are one who eccentrically prefers
Emil Jannings, you won't he hothered by Mr. Rogers in a really
delightful and intelligent picture, in its way quite equal to "The
Shopworn Angel," which was directed by the same man, Richard
Wallace. Incidentally, it is a talking version of the silent picture
filmed some years ago as "The Fighting Coward," in which Cullcn
Landis assumed the role now played by Mr. Rogers. So much for
hiographical data.
Not only is the story whimsical and attractive, hut it is overlaid
with satire and occasional burlesque ; the acting is of a high order
and the reproduction of scenes and manners of the old South is
exceptional. As you may rememher, the central situation revolves
around the return of Tom Rumford to his home in the South after
a long stay in the North. He cannot see the sense of dueling and
all the romantic nonsense that goes on around him. When Tom
refuses to fight a fire-eating major for the affections of Elvira
Jcffcrs, who is engaged to him, he is branded a coward and is sor-
rowfully driven from home by his father. Then he comes upon
General Orlando Jackson, a comic bully, from whom he learns that
if one builds up a reputation for ferocity one doesn't have to do
much fighting — even in the South. Whereupon Tom returns to his
home as The Notorious Colonel Blake and, masked, attends a ball.
He exposes the villains, rights wrongs and claims Lucy, the one
person who has believed in him and his principles.
The latter part of the picture is not quite as good as the first, but
it is quite good enough to maintain a standard higher than average.
Mr. Rogers is not as easy in the role of the old-fashioned South-
ern boy as he was with the jazz band leader in "Close Harmony,"
hut he will give satisfaction plus to his idolators. There is no ques-
tion at all of the complete success of Mary Brian, as Lucy. She
is thoroughly expert, wholly and unselfconsciously charming, while
June Collyer surprises with a shrewdly satiric portrait of the trivial,
vain elder sister. Wallace Beery is richly human as General
Orlando Jackson, whose bluster he captures with fine skill.
Crumpets and Pearls.
English drawing-room comedy flourishes on the screen in "The
Last of Mrs. Cheyney" — very English, very drawing-roomy. It is
well acted and handsomely produced, but the recording is so uneven
that the Wasting voices sometimes heard are hardly in keeping with
the quality of silken suavity intended. Then, too, I helieve the
majority of fans will find it rather puzzling to accept as a heroine
a girl who edges her way into society in order to rob her hostess.
And I am inclined to think that they will be prejudiced against
a hero who, professing to love the girl crook, demands that she
give herself to him — or be turned over to the police. Still another
strain on conventional credibility is their ultimate marriage.
Of course the dialogue that brings all this about is amusing. On
the stage it was called brilliant. But to me it is synthetic brilliance,
as tricky and shallow as the argument of "The Single Standard,"
a silent picture. However, there's no denying that "The Last of
Mrs. Cheyney" is a credit to all concerned, not the least of that
credit going to those who had the courage to choose it for the
screen. Its artificiality will appeal to those who like to think them-
selves sophisticated, but I believe the majority of fans will neither
be amused by the dialogue nor moved by Mrs. Cheney's predica-
ment. Nor will they nominate Basil Rathbone the man of their
dreams on the score of his embodiment of Lord Arthur Dilling,
the philanderer who tries to blackmail Mrs. Cheyney and, defeated,
offers her love and marriage.
Shorn of its chatter, the plot is really rather moviesque. A
former shopgirl poses as Mrs. Cheyney and, financed by a band
of crooks who masquerade as her servants, she is mistress of a
mansion in Mayfair, all this for the purpose of robbing the wealthy.
To convince us that she isn't wholly naughty, she is shown to have
qualms when the time comes to relieve her hostess of those pearls.
But Mrs. Cheyney is so sensitive that she can't bear to disappoint
the boss crook, who has set his heart on having the rope of
Orientals. So she enters the bedroom and emerges laden.
Continued on page 96
"Fast Life."
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'Street Girl.
"Evangeline."
66
What's Tkis?
Eight stars appear to tell you
their nicknames off the screen
— more remarkable for their sim-
plicity than for their imagina-
tiveness.
Rosetta Duncan, left, is called "Heinie "
for no particular reason.
Constance Talmadge, right, so chic and
sophisticated, answers to the prosaic
name of "Dutch."
Margaret Livingston, below, is hailed a>
"Swede'' by those who love her.
Guinn Williams, above, was
nicknamed "Big Boy" for a
very obvious reason.
Lupino Lane, left, center, is
affectionately known as "Nip."
And Leatrice Joy, right, cen-
ter, labors under the com-
monplace nickname of "Letty."
Evelyn Brent, left, has her
friends to blame for calling
her by the innocuous name
of "Betty."
Marion Byron, right, is
dubbed "Peanuts" by her pals,
probably because she's so
small.
67
To HimWho Waits
Failing in go-getter tactics to crash the movie gates,
Paul Page settled down to stage work — and the
movies eventually came to him.
B? William H. McKegg
STAY away from Hollywood! If you are talented,
Hollywood will find you!"
With a cynical, unpleasant grin I read B. P. Schul-
berg's advice to all aspirants to screen fame. I took it
that Paramount's production manager was just talking.
Yet after meeting Paul Page, a newcomer from the stage,
and listening to his story and philosophy, it seems there
is some truth in Mr. Schulberg's generalization.
"While I tormented myself day and night trying to
land in pictures, I never got a thing from them." Mr. Page
related. "No sooner had I stopped chasing after them,
than they sought me out and things came my way."
There you are! Account for that, if you will. I can't.
Nor can Mr. Page. It's just one of the phenomena of
the films.
Paul was on the stage, but always wanted to get on the
screen. And why not ? He possessed all the reputed at-
tributes for screen success. Dark, with a suggestion of the
Latin in him and quite presentable in every way, it seems
hardly credible that casting directors should have been
indifferent to the eager, young applicant.
Eventually he was given a test by Paramount's Long
Island studio. In preparing for it, Paul set about with
many ambitious, go-getting gestures.
"To this day, I don't believe there was any film in that
camera," is the young man's suspicion. "It's funny to
think of now, for I was
very dramatic, and acted
for all I was worth. But
I had been given the test
through knowing a man
'high up.' I have since
learned that studios will
exert themselves to ac-
commodate the influential
fellow, but they never do
anything for the person
introduced by him.
"I was never given a
glimpse of the result.
When a test is good, they
let you see it, but keep it
on file. If bad, they let
you take it away as a
memento of how ridicu-
lous you look on the
screen."
Mr. Page struck a match
during the middle of his
monologue. He was just
in time to light a cigarette
with it before it burned
his fingers. His gestures
were slow. And, after all,
he was in plenty of time.
Paul has the physical re-
quirements for screen suc-
cess, plus a long-standing
determination.
Photo by Bull
A couple of Pages, Anita and
Paul, discuss his early chasing
after screen work, and decide
that the dark chapter has ended.
To-day, applying his recently
discovered philosophy, Paul isn't
in a hurry with anything — not
even with matches.
Going back to his test he said,
"It seemed too bad. I was al-
most broken up over the fact
that I had been a failure — as I
took it that I must have been.
The stage was my only calling.
It seemed best to stick to that.
But I wouldn't abandon hope al-
together. I still continued to
chase after films."
Mr. Page spent most of his
time being very ambitious. He
went tearing to this manager's
office, then to that one's, apply-
ing for roles in screen produc-
tions. The young man's life
was full of action. He believed
in the go-getter theory.
While we leave Paul racing
after film fame and not getting
it, we can glance at his bi
raphy. He is a Souther-
Continued on pace 114
68
Wool, But Not Wide
Indeed, very trim are these flannel trousers worn nowadays by the
girl tennis enthusiasts of Hollywood.
Time was when Fay Wray, left, was always
pictured in chiffon with swans, or something
equally ethereal, but since playing a gunman's
gal in "Thunderbolt," we are beginning to sec
her as she really is.
Dorothy Gulliver and June Marlowe, right,
pause in their spirited game to step close to the
camera for the purpose of joining the other
trousered beauties on this page.
Lita Chevret, above, a newcomer to Hollywood,
is perhaps a little plumper than she will be when
she gets into the swing of fame, but she wears
her pants with a way all her own.
What a broth of a boy is Laura La Plante, left!
Her figure is fortunately devoid of undulations,
so she can wear her flannels with the slim straight-
ness of those who resort to the eighteen-day diet to
do for them what nature does for her.
Jean Arthur, right, seems a little self-conscious of
her trousers, but as she wears them in public, she'll
soon get over her girlish qualms.
G9
bhe Couldn't
Kid Herself
Dorothy Mackaill bluffed the
world and herself for a while,
but finally she achieved a bal-
ance that assures success and
peace of mind.
By Myrtle Gebhart
WHAT has Hollywood done
to me?" Dorothy Mack-
aill's cryptic brows lifted
her repetition of my question off
her crisp voice, and it dangled
there a moment between us, before
she plunged into the task of an-
swering it.
Six years in Hollywood could
not but effect changes and indent
marks. A cactus coat could not
escape the influences with which
the film town sandpapers its per-
sonalities and redecorates them.
Four years ago she said to me,
"This business offers me money
and prestige; I intend to get
ahead." Has she? All right,
hoys, we heard you ! "I lack much
imagination." Correct, and better
tor her. She admitted that her
illusions had been roughened and
expressed a flippant cynicism,
which has been mellowed by a few
real heartaches into a clearer un-
derstanding and a more sympa-
thetic tolerance. Hard-boiled blus-
ter has become dignity.
At fourteen, working in an Eng-
lish newspaper office, she bluffed
the editors into thinking her older
and intellectual ; at school in Lon-
don, in the awkwardness of a mis-
fit, she bluffed that she didn't mind
her ostracism ; on the Hippodrome stage she bluffed
the supper chappies into considering her a blase woman.
On a pound or two more than passage, she bluffed her
way to America into the "Follies," to Hollywood.
She got away with it beautifully, until she started to
bluff herself.
When "The Kid," as she used to call herself, got
Mackaill's number, the jig was up.
Her career has maintained a steady progress. It has
been like a ship that rides out the gales so expertly that
only its navigator knows there has been clanger. She
has never achieved the extraordinary, cither in success
or failure.
Her publicity, characterized by simplicity, has been
less than that promoting others. A series of neat, little
news notes — just that, no more. Even marriage and
separation were negotiated without the customary ado.
There has been nothing exceptional, unless one accepts
my own view, that in maintaining level-headcdness in
Hollywood one accomplishes a rarity, the distinction of
being unsensational, the minority of the sane.
Miss Mackaill has
herself so well in hand that vital personal or professional
matters no longer disturb her.
Curiously, her name is never bandied about. Though
she is far from being a recluse, it is not slithered from
luncheon to bridge tabic by the gossip brigade. I rather
think her very disdain disarms them.
Her answer is a snappy "Yes!" or "No!" or "I don't
know anything about that." No equivocation, no fum-
bling, no tactful evasions.
Any turbulence is well curtained and disciplined.
Whatever the melee, she emerges undisturbed. Her
handclasp is quick and firm, her walk brisk; her i
give you candor. She has been called "The Deer." be-
cause of the way she throws her head back, a^ though
listening. Her barbed wit can be caustic. I should not
want her antagonism. One sharp phrase would lie her
shrapnel.
Only one other star T have known was so brutally
frank — Anna Q. Nilsson. Even when, for a brief time.
she went slightly Hollywood and was given to dashing
to places for the hurrah, she kidded that sort of thing
and herself.
"Most important to me is that I have achieved bal-
70
She Couldn't Kid Herself
Dorothy Mackaill prefers roles that are honest, whatever their morals or
station may be.
ance." Mackaill spoke my very thoughts of her.
"When you have that sense of proportion, you have
peace. I used to think it was success only ; now I know
it is contentment. When I thought I was hard-boiled
and bitter, I was merely a silly kid showing off. In
acquiring actual self-confidence, I have lost the sham
which goes with bluff. I look life squarely in the face,
and dare it to lick me. For I know, now, its secret.
D'you know, it can be rather sweet !
"I — I — I " A smile flashed in her gray-green
eyes and in that odd, little side-quirk of the lips. "Be
sure to dot them. No — give me a break ! Make them
capitals ! Aren't actors all //
''But we have to be egoists. It is essential. An actor
is made of gossamer stuff, not of the stable firmness
that can stand routine and chains. He has a quivering-
something, if you get what I mean, and belief in him-
self. The average man could not act, because he hasn't
enough conceit.
"Let actors talk of their inferiority complexes ; per-
haps some really fancy they have them. Self -analysis
that is only skin-deep is a favorite mental exercise in
Hollywood. They aren't seeing themselves truly. That
inner urge to act, stronger than a mere impulse, de-
velops in the actor a bluff, partly assumed but based on
his ego, until by his work he attains real self-assurance.
"It's a wonder my back didn't break, carrying so much
nerve around. My cockiness must have been absurd.
It wasn't to me — not until I had torn up my contract,
because I got mad and walked out. I expected them to
run after me. They called my bluff.
Friends said I was a fool, that I'd
never get the money I wanted, or
another opportunity. Soon I real-
ized what an idiot I had been. For
the first time in my life, I was really
frightened."
After two idle months, she got
another chance. Not humbly did
she ask, for never could it be 'said
that she was humble ! Let us say
agreeably.
"That was when I called my own
bluff, and began to build a solid
self-confidence. When experience
proves your ability, you feel estab-
lished and clear out the superflui-
ties that must accompany bluff. At
first, I wanted to wear gorgeous
clothes, with all the ermine-and-
orchid trimmings, both in my work
and personally. To be popular, to
be seen about, to be in the swim.
Then I got wise to myself. This
last year I have stopped playing the
game of going places and doing
things expected of an actress, add-
ing my dab of color to Hollywood's
surface cosmetic.
"Fortunately, I had few disap-
pointments in my work. I felt that
several roles weren't right for me.
Studio executives generously ad-
mitted that results proved me cor-
rect. That gave me confidence in
my judgment."
Characters that are honest, what-
ever their morals or station or
drama, appeal to her. "His Captive
Woman" was a favorite, because of
the girl's candor.
"No false sympathy, no crying-
cowardice. I loathe artificial sentimentality. Why do
they have to explain a bad woman on the screen, build
up excuses for her? If her story has drama, why soft-
soap her?"
"The Great Divide," second and audible filming, was
followed by "The Woman on the Jury." An odd cir-
cumstance is that in the first version of the latter, in
1924, she refused the second lead.
While the broad English accent has driven some of
her countrywomen home, she took a tuck in hers, and
is studying nuance.
The heroine of "Classified," retitled "Hard to Get,"
delighted her. Snappy business-girl roles, or common
gamins, she thinks more real and more worth playing
than the dressed dummies.
"Possibly this preference is part of my back-to-nature
feeling. Assurance of success enables you to drop your
props, and be yourself, however simple you are ! You
dare to enjoy that precious freedom in Hollywood, only
when you know your foothold is secure."
What sort of good times does she like now?
"Agua Caliente, flying down, with three men along."
Her answer had an arrow's swiftness and accuracy. "I
have a few girl chums, whom I like tremendously. But
to be quite selfish, which I am, I have a better time
with men.
"Mother has helped pull me through things," she re-
plied to my murmur about the personal tragedies so
dramatized in Hollywood. That was all ; no sentimental
Continued on page' 107
Her FiVe Gifts
Doris Kenyon has combined successfully
the responsibilities of wife, mother, house-
holder, actress, and finds time to write
verses.
B>> Aileen St. John-Brenon
TWO chic and charming young matrons,
both blondes and attractive, but friends
in spite of it, were driving' through
New York on a shopping expedition.
Each was the last word in the season's fash-
ion, one a willowy, responsive creature in
aquamarine, with restless, eager eyes flashing
out of her sables ; the other trim and vibrant
in a delicate shade of rose, with sparkling eyes
dancing beneath her gay bonnet.
The former you may recognize, as everybody
else did along Fifth Avenue, as Doris Kenyon,
in private life Airs. Milton Sills ; and the other
was May Allison, long popular on the screen
in her own right, and now the happy wife of
James R. Quirk, editor and publisher.
Miss Kenyon had come East to care for her
husband, who was recovering from a nervous
breakdown, while Miss Allison, who has found
her first true happiness in the undivided occu-
pation of being "just a wife" — and glorying in
it — is a permanent addition to Xew York's
movie set.
It was by no means their first expedition to-
gether in search of the elusive frock. They
had been shopping for days and days, while
Photo by Carsey
Miss Kenyon believes that work is essential to her happiness, but
her family is first in importance.
models strutted before them ; while they had hummed
and hawed as overzealous saleswomen insisted that "this
little number — the latest thing from Paris — photographs
white" was the gown of gowns for all occasions. While
they had compared fabrics, prices, and models, alas, the
Continued on page 106
Doris gives
Kenyon
Sills a
flower, and
the little
fellow is
delighted.
I Gillum
72
Mod
With the disappearance of the old order of things
surprising that these young ladies offer them
Mary Nolan, left, removes her hampering clothing, swathes
herself in black gauze, strikes a pose and calls herself the
muse of modern art. Why not? She certainly knows all about
the movies, and aren't thev a modern art? •
Dorothy Gulliver, left, grasps a
football, dons spangles and high
heels, and smiles at the camera
as the muse of sports, or is it
athletics in a broad way?
Ruth Elder, right, who knows
her air pockets as well as
Colonel Lindbergh, throws
herself into the task of spon-
soring aviation and, holding
aloft a toy airplane, pro-
claims herself, with a coy
smile, the very spirit of the
skies.
Little Barbara Kent, right, not to be
outdone by all these goings on among
the Universal sisterhood, rushes to
the grimy machine shop, snatches up
a diamond-studded monkey wrench
and calls herself "Mechanics."
73
M
uses
all around us, including self-effacement, it is not
selves as embodiments of latter-day goddesses.
June Marlowe, right, her pretty head fairly bursting with zig-
zags, says she is the soul of electricity, that she just radiates
magnetism. Be that as it may, let's give her a hand for not
injuring herself with all those tinny things.
Mary Philbin, right, dan-
gling a few yards of film
from her waist and shoul-
ders, asks you to accepc
her as the muse of the
movies, the goddess of the
cinema, or what have you?
Well, it's a big responsi-
bility, and Mary has a lot
to answer for right now.
Kathryn Crawford, left, shows by her
carefree attitude and the symbols she
flaunts, that she doesn't give a whoop
for art. Why should she? For she is
commercialism, the muse who trips .the
light fantastic through all the studios
and brings dreaming stars to their
senses by whispering "Remember the
box office."
Merna Kennedy, right,
her saxophone poised
for a blast that shall
drown every symphony
ever written, fittingly
portrays the modern
muse of jazz whose
cry is, "Down with
Beethoven, L i z s t ,
Chopin, and all those
guys l"
74
t'hoto by Autrey
Victor McLaglen got his professional start by boxing and perform-
ing feats of strength before he got into the movies.
He's a Soft-Boiled Egg
Though you'd never suspect Victor McLaglen of being
that on the screen, he discloses his real self when he talks
of his family and the way he is bringing up his children.
B? Alma Tailed
IS there a good, rowdy role looking for some one to
play it on the Fox lot? Page Victor McLaglen. A
tough marine captain, a baggage smasher, a river
pirate, a strong man — whenever a Fox film calls for a
hard-boiled guy in its cast, the directors shout for Victor
McLaglen.
A hard-boiled bozo on the screen. Ugly, with a nose
flattened by boxing gloves early in bis career — at least,
I suppose that's how his nose got that way. Six feet
three. Two hundred and five pounds of brawn. Ex-
boxer, ex-soldier of fortune. No wonder he's ticketed,
in the casting department, "hard-boiled."
That's what he is on the screen. But at home — that's
a different story. With his family, he's a gentle, devoted
husband, an adoring father.
When he came to New York, he had his family with
him in photographs. His family in person were far
away in England, visiting relatives. He cabled them
every other day, Mrs. McLaglen and the two children.
And he likes to tell you about them.
Most actors have a favorite topic of con-
versation. And you don't need three guesses
to figure out what it is! It's "Me and my
career and me."
But when I mentioned movies, McLaglen
protested. "That's shop talk. When I leave
the studio, I like to forget work."
So I mentioned his family, and you could
see at once what it is he likes to remember
when he forgets work. Does any one think
Victor McLaglen's hard-boiled? Well, they
should see his eyes light up when he talks
about his family.
"The children? There are a boy and a
girl. I'm Scotch-Irish, you know, so the
boy has a Scotch name, Andrew, and the little
girl an Irish name, Sheila.
"And you should see my boy!" Proud
papa beamed. Obviously he's one of these
fathers who wanted a son and got him !
"Andrew's mine, and the smartest young-
ster you ever saw. He's the lightweight
champion of his school ; he swims ; he rides.
When he was six, and just learning to ride,
he fell off his horse. He blinked at me a
little, with tears in his eyes ; he wasn't quite
sure whether to cry, or to laugh. But he
wasn't hurt, so I just looked at him very
sternly, and without a word he climbed right
back on his horse again.
"Not long ago his school held a track meet
and I went to watch. The high-jumping
event came along, and I saw to my surprise
that Andrew was entered in it.
" 'He can't be much good at jumping,' I
told myself, 'he's never said a word at home
about jumping. He'll probably drop out in
the first round.' As each boy failed to clear
the obstacle, of course, he dropped out.
"So I waited for Andrew to be eliminated.
He cleared it the first time. 'He'll be out
next time,' I thought. But he wasn't. The
other kids kept dropping out by twos and
threes and fours, and Andrew kept on going
and going, a regular jumping jack. Until
first thing I knew, there he was, with only
one other boy. Then the other boy dropped
out, too, and they were giving Andrew higher
and higher jumps to make. Why, the kid was
the champion jumper and hadn't even men-
tioned it.
'Along with his athletic side, Andrew's got
the softest, kindest heart you ever saw. The other day
he saw a spider and he couldn't kill it. 'You kill it if you
want to, dad,' he said, 'I can't step on it.'
"He loves flowers. Maybe he gets that from me. I
love flowers, but I don't know one from another.
"I try to train Andrew to be completely self-reliant,
and to know the value of money. It doesn't do for
kids to grow up without learning about such things.
"So I have a big blackboard at home, with a list of att
the stocks I own, and how much I paid for each. Then
I give Andrew a dollar a week to keep up with the
market prices and record them after the names of the
stocks. He takes quite an interest in it, too ; he'll come
to me and say, 'Dad, your railroad stock went up three
points. to-day.' He watches the quotations every day.
"So you see he's not good only at athletics. I try to
bring him up to be bright in every way, a first-rate, all-
round youngster. Would you like to see his picture?"
Continued on page 94
I •)
1'hoto by Max Muii Aulrey
Victor MacLaglen is a hard-boiled guy on the screen, but at home
he's a three-minute egg, softly devoted to his family, says Alma
Talley in her engaging story opposite, which is easily the most
revealing ever written about the big fellow.
7G
A Fatal Seance
It occurs in "The Thirteenth
Chair," forerunner of all the mys-
tery melodramas, 'now brought to
the screen in dialogue.
Margaret Wycherly, top of page, center, as Rosa-
lie la Grange, the medium, is surrounded by the
twelve persons interested in solving the murder.
The same characters are seen, below, after Rosalie
la Grange's first seance is unsuccessful.
Moon Carroll, above, as Helen
Trent, John Davidson, as Ed-
ward Wales, and Leila Hyams,
as Helen O'Ncil, lock hands at
the medium's request.
Leila Hyams, as Helen O'Neil,
outer left, is accused by John
Davidson of murder, while
Conrad Nagel, as Richard
Crosby, defends her and Holmes
Herbert looks on.
77
A Song Writer's Wife
Hers is not a happy lot, but Norma Talmadge,
in "New York Nights," her first dialogue film,
promises revelations galore.
Miss Talmadge, as Jill, at top of page, has left her husband
for John Wray, as Joe Prividio.
Gilbert Roland, right, as Fred Deverne, the song writer,
with Miss Talmadge, as Jill.
A glimpse of their home life is seen, below, with Lilyan
Tashman as an interested visitor.
In the oval, lower right, are Miss Talmadge and Mr.
Roland.
n
\
78
Bess Lee, Cornelia Thaw,
Lulu Talma, and Geor-
gette Rhodes form the
charming fresco at top of
page.
Miss Bordoni, a re-
splendent figure, center,
sings one of her in-
imitable songs.
Jack Buchanan, a fa-
vorite of the London
stage, above, teaches
Louise Closser Hale how
to be gay though old.
Irene Bordoni, above,
looks on at Mr. Bu-
chanan's lesson in amaze-
ment, while Jason Rob-
ards primly disapproves
of the change in his
aunt's deportment
Miss Bordoni and Mr.
Buchanan, left, in a sing-
ing interlude, one of
many in the picture.
79
Gloria Swanson, at top
of page, with Robert
Ames and Wally Al-
bright, Jr.
Miss Swanson, above, as
Marion Donnell, the
stenographer whose
crowded life is the sub-
ject of the story.
Miss Swanson, center, as
a proud, young mother.
Henry B. Walthall,
above, as Fuller, confi-
dential employee of the
millionaire who is pro-
viding for Marion, tells
her that he is mortally ill
Miss Swanson, left, finds
dictation difficult because
her thoughts are on her
impending elopement with
a millionaire's son.
50
A Merry
He's Maurice Chevalier, of
laughter and song the
vania in "The
Jeanette MacDonald, left, as
Queen Louise, is attended by her
ladies-in-waiting, Virginia Bruce,
Josephine Hall, Helene Friend,
and Rosalind Charles as they sing
"My Dream Lover."
Maurice Chevalier, below, as
Alfred, the prince consort who
becomes king, in a characteristic
moment.
Lupino Lane, above, as Jacques, Alfred's
valet, has many a droll scene with Lillian
Roth, as Lulu, the Queen's maid.
Jeanette MacDonald, right, and Maurice
Chevalier have a little tiff about their
unequal rank, for she is a queen, you know,
and he is but a prince consort until her love
makes him king.
81
M
onarcl
course, and he rules with
mythical kingdom of Syl-
Love Parade."
Jeanette MacDonald and Maurice
Chevalier, right, sing "Anything
to Please the Queen," one of the
many gay, sophisticated numbers
promised in "The Love Parade."
Miss MacDonald, below, a bril-
liant figure in musical comedy,
makes her screen debut with
every assurance of success.
** i =•■
* Vv
Mr. Chevalier, above, feels that he is .1
man first and the husband of a queen after-
ward, so he refuses to take orders from
Miss MacDonald.
Ah. hui when the last scene is reached, left,
and iiff> and quarrels are forgotten. Ifiss
MacDonald and Mr. Chevalier remember
that there reall> isn't anything else but low
82
Sophistication
Colleen Moore pledges herself to be
very worldly in "Footlights and Fools."
Colleen Moore, at top of page, as Fiji
d'Auray, star of a musical show, is really
Betty Murphy with a Paris label.
Miss Moore, above, has
many moments of whole-
hearted comedy as she
pretends to be French.
-
Thanks to a large reper-
toire of wigs, Miss
Moore, above, changes
her appearance many
times, including her
transformation, center.
V
Andy Rice, Jr., above, tries to convince
Miss Moore that he sees through her
disguise.
Raymond Hackett, above, as Jimmie
IVillet, has a guilty conscience, but
Miss Moore's trust is unshaken.
A
re
c
ensors
Hu
An amusing th
trating discuss
subject that
with
man
By
83
?
Elsi Q
ue
Illustrated f>
L u i Tru; 1
CENSOR baiting having become, next to circum-
vention of the Eighteenth Amendment, the most
popular sport in America, it is admittedly a risky-
business to lift one's voice in defense of the despised
breed ; yet to those of us whose sympathies are inher-
ently with the under dog, it seems high time that some-
body put in a kind word for at least one division of the
species, to wit, the well-meaning, if misguided, custodian
of film morals.
His is certainly no bed of roses, and if he is fre-
quently crowned, it is not with laurel. Virtue is its own,
and in most cases his only, reward. Such censor boards
as do not serve gratuitously, receive a stipend so dis-
proportionate to the labors involved as to be practically
negligible.
Consider for a moment what it must mean to be born
with a censorial mind. Fancy the agonies of the in-
articulate infant on beholding its nursemaid in clandes-
tine flirtation with the corner cop ! Or, in more humble
circumstances, imagine its embarrassment to discover its
mother engaged in unseemly badinage with the iceman !
Such seeming trifles have an incalculable effect upon the
delicate nervous organism of the congenital censor, and
often account in later life for a mental attitude incom-
prehensible to less sensitive natures.
It is little short of barbarous to hold this affliction up
to ridicule. What a censor must suffer in the course
of his self-inflicted martyrdom will hardly bear thinking
of. It is estimated that in order to keep up with the out-
put a really diligent indecency-expert must witness an
average of two films per day. This alone should entitle
him to the diamond-studded medal for endurance. Stop
and think for a moment, you who pay your money, take
your choice, and walk out on the show if you don't like
it, what this sacrifice involves.
And bear in mind that he goes to his task not in the
light-hearted and hopeful mood in which even the most
disillusioned of us approaches a new movie, but as one
led to the stake, with every quivering sensibility attuned
to lurking impropriety, impurity, immodesty, and inde-
corum, not to mention uncleanness, unseemliness, coarse-
ness, foulness, and grossness.
No love scene is for him just a love scene. He must
hold a stop-watch on the clinches, and estimate and re-
cord the calorific intensity of each kiss. Where some
of the more delicate-minded of us close our eyes from
an instinctive aversion to intruding on the privacy of
even the make-believe big moments of screen lovers, he
must look and look and look risrht into the final fade-out.
And now he must listen, as well as look. His ears are
assailed by a multitude of offensive sounds, from which
he must differentiate, if he can. those which might have
some impure significance from those which are of purely
adenoidal origin.
Both the public and the producers take a diabolical de-
light in evading censorial mandates. Let a book, picture,
play, or film be officially condemned as indecent, and,
no matter how unworthy it may be as a work of art, it is
almost sure of commercial success. England was amazed
at the popularity which Michael Arlen's somewhat pif-
fling story, "The Green Hat," enjoyed in the United
States, and was still more amazed when it reached the
screen over there as "A Woman of Affairs."
Piffle has been reduced to sheer inanity in the effort
to meet a hypocritical moral standard which is supposed
to represent the American ideal. No conscientious cen-
sor could see this film, without a depressing realization
of the hopelessness of his aims and aspirations. Such
strength as the novel had lay in its relentless portrayal
of social decadence. It might have conveyed a moral
lesson if truthfully handled on the screen. But such are
the illogical demands of film censorship, that the un-
wholesome conditions which reacted so tragically on the
lives of the characters in the story couldn't even be
hinted at on the screen.
The mad Marches, who become the mad Merricks in
the film version, are pictured as a pair of jolly young
moderns, without a suggestion of that taint of decay
which made them such pathetic figures in the novel.
Thus the theme of the story is distorted and the subse-
quent actions of the characters become meaningless.
John Gilbert, as Neville, walks through the sappiest role
of his career, thanks to the evasion which bases his
father's objection to the girl of his heart, Diana Merrick,
solety on the fact that she has a lot more money than
'Ncvs'!
It must be said of Greta Garbo that she looks the part
of the misunderstood lady of the green hat, but her per-
formance leaves us cold, because of the false situations.
For instance, the pivotal scene, after she has been sep-
arated from Neville and marries the supposedly impec-
cable David, who commits suicide on their bridal night
"for purity," has been so ridiculously censorized that her
subsequent sacrifice seems silly. American audiences are
not presumed to know that moral lepers like David exist ;
it wouldn't be nice! So he becomes a mere embezzler
and hurls himself out of the window "for decency," after
Continued on page 116
84
The Albertina Rasch ballet is a feature
of "The Hollywood Revue."
WHERE is the bathing beauty of
yesteryear? Gone is the day
when no short comedy was
complete without a liberal display of
her voluptuous charm. The screen has
seen less and less of her of late years ;
and the talkies apparently have sounded
her death knell. Mack Sennett, who
originated the film beach girl, has def-
initely declared that there is no place
in vocal celluloid for the merely dec-
orative damsel.
In some respects the passing of the
bathing-beauty squad is to be regretted.
a great training school for embryo stars,
offered hundreds of inexperienced girl
Josephine Houston, center, and a bevy of beau
ties in "On With the Show."
The CKorine
The passing of the bathing-beauty
squad from the screen makes way
for a new mainstay of the talkies,
the chorus girl. Will the movies
be her stepping-stone to stardom?
A chorus num-
b e r from
"Climbing the
Golden Stairs."
chance to earn while learning to act.
It gave them the opportunity of steal-
ing scenes from star comedians such as
has never been known since in the an-
nals of extra work. Of late years the
going has been getting harder and
harder for the extra girl. Even if she
had the rare fortune to work regularly,
she found that she was put in the back-
ground of scenes, often out of focus.
Then came the talkies, with their in-
timate dialogue between principals, and
even fewer opportunities for extras.
85
Hal Skelly does his stuff against a background of girls in
c
omes
to Stay
By H. A. Woodmansee
Arthur Lake and the
chorus girls in "On
With the Show."
style bathing
beauty, who
could only
pose in her
one costume,
and could not
bring singing
and dancing
to her aid.
onotony killed the
bathing girl ; the far
greater range of the
new type seems to
assure her screen im-
mortality.
Will movie history repeat itself?
Will the chorus occupy the niche
of the old bathing-beauty squad as
a stepping-stone to stardom for the
talented unknown? Will it bring
forth players of the ability and
charm of Phyllis Haver, Gloria Swanson, Marie
Prevost? [Continued on page 116]
A snappy sextet of dancers from "The Broadway
Melody."
Then came, not the dawn, but "The
Broadway Melody," with a flashing display
of music, dancing, costumes, girls, legs. The
public showed in no unmistakable way that it
approved. Immediately every producer began
blming musical plays, with scantily draped
dancing and singing beauties. And so we have
with us the film chorus girl, logical successor
to the bathing beauty.
She seems destined to be not a passing fad,
but one of the permanent mainstays of the
talkies, as she has been of the stage. Her ap-
peal is so much more varied than that of the old-
86
Audrey Ferris, center left, experiments with what might have been the
first sight-seeing bus.
~- / ' //
/,
Back in 1904 they tore around town in a vehicle such as Victor Fleming
and Nancy Carroll, left, are riding.
Sally Rand, below, used to think the 1908 model would run.
h3*
87
JbasV Lome, tasV vjo
as?
Like the ebb and flow of the tide, new faces appear
and disappear from the screen, while old ones
surprisingly come back. This suave story glitters
with examples of transient fame.
By Willard Chamberlin
IS the avalanche of new faces crowding out the old
favorites? At first glance, you would say yes. I
Every one now is new. You pick up a fan maga-
zine. You see there pictures of Nancy Drexel, Sally
Phipps, Dorothy Janis, Diane Ellis, Carol Lombard,
Sally Eilers, Betty Boyd, Ethlyne Clair, Nena Ouartaro.
"Who are these?" you ask. "They are not stars, I
know. I do not know Helen Twelvetrees, Betsy Lee,
Mona Rico, Flora Bramley, Alary Mayberry, Dolores
Brinkman, Fay Webb, or Anita Garvin. Why are
their pictures crowding the magazines ? They have
never done anything for films. Where are the stars
of a year — a month — a week ago? Where is my favor-
ite? Why do I see portraits of Frances Lee, Lupita
Tovar, and Lia Tora, instead of ones of Alice Terry,
Blanche Sweet, Claire Windsor, Anna Q. Nilsson,
Aileen Pringle, and Pauline Starke? Names which are
passwords in the realm
of pictures."
Diane Ellis is one of
many newcomers.
Mona Rico received a great deal of pub-
licity on the strength of her "discovery."
One by one, it seems, they drop from
view — disappear. Where, indeed, are Pris-
cilla Dean, Anita Stewart. Alice Calhoun,
Viola Dana, Sylvia Brcamer, and Ethel
Clayton? It seems but yesterday that
Wanda Plawley, Mac Marsh, Alice Lake,
Lillian Rich, Dorothy Phillips, and May
Allison were shining lights, riding on the
crest of the movie wave. Where are they
now ?
Why are others, though still playing,
submerged in a dim background? Capable,
attractive, but inconspicuous — Vera Rey-
nolds, Virginia Valli, Pauline Garon. Seena
Owen, Alberta Vaughn, Shirley Mason,
Barbara Bedford. Myrtle Stedman, June
Marlowe, Kathleen Key, Edith Roberts,
Julanne Johnston, Eileen Percy, and Vir-
ginia Lee Corbin.
But on the other hand, how many of
these new girlies, with golden tresses and
big, blue eyes, who come to Hollywood in
carload lots from this high school and that
night club, find that they should have come
on a round-trip ticket, for the film capital
soon bids them farewell — forever. They
find there must be something under the burnished tresses, and that hare legs do
not make a movie — not even a "Broadway Melody." A few magazine poses, some
high touting and introducing, and that's all. Two thirds of the new faces hailed
in the monthlies as new personalities never reach the screen. They go, just the same
as the old favorites go.
And while all this posing and undressing is going on, some of the familiar, worth-
while figures of filmdom, who disappeared a year or two, or even longer
come swinging back, smiling and lovely as ever. And they have a reputation which
will let them back in.
The sudden influx of established players to prominence within the past year is really
surprising.
Constance Bennett disappeared from
the screen, but is back again.
88
Easy Come, Easy Go
sonable women on the screen. She is back again after her acci-
dent, and some time ago gave one of her clever performances
in "Blockade." Do you remember when Anna Q. and Betty
Compson played together in "The Rustle of Silk"?
Bessie Love's sensational comeback was meteoric, to say the
least. Bessie was already to pack up her ukulele and so forth
and skip for other climes, when she suddenly showed them
how in "The Broadway Melody," and this adroit little lady de-
cided she wouldn't quit Hollywood just yet, you bet ! Bessie
has been a faithful trouper, appearing nicely in picture after
picture that was shown only at the neighborhood theater around
the corner. Now M.-G.-M. has gobbled her right up, so to
speak !
Marguerite de la Motte was not having her picture in the
rotogravure sections any too often, which is a sure sign of
waning popularity. Marguerite was fast losing her prestige.
Then Douglas Fairbanks, just to show he was a good sport,
made a sequel to "The Three
Who is Lupita Tovar?
Nena Quartaro, like many others, comes
and goes.
Of course, Betty Compson must be
mentioned first, even though you are
already familiar with her comeback. It
seems too much cannot be said about it.
That it has a sentimental significance
is shown in the constant references to
it and to Betty's ability. After strug-
gling through the studios on Poverty
Row, appearing in "quantity products,"
the real Betty Compson fading further
and further from her
rightful place in the
film world, she came
suddenly back with an
unbroken series of fine
performances, her wist-
ful beauty shining out
again from the front
ranks. She has found,
as the song of one of
her pictures says, that
"every weary river some
day meets the sea."
Betty is a real actress,
and who wouldn't much
rather see her act than
watch Rose Robin or
Lili Lipstick pout in
lace scanties?
Anna Q. Nilsson is
one of the screen's few
"old-timers" to retain
her charm and popu-
larity through scores of
pictures, and even now
can be numbered among
the smartest, most per-
Sally Phipps makes spo-
radic appearances.
Musketeers," with some of the
members of the original cast,
and Marguerite was one of
them. And so she had her
name in print again. Will it
mean a chance to return?
Every one is glad Mae
Busch finally had a bit of luck.
Poor Mae. She is another of
the really good actresses who
has never been appreciated. I
have seen her give splendid
characterizations in mediocre
films which were otherwise
hardly worth showing. Lon
Chaney recognized her ability
and gave her roles in "The
Unholy Three" and "While
the City Sleeps." She had an
artificial role in "Fazil," which
nobody paid any attention to.
And thus she continued slid-
ing into
ob li vion.
Then the
producers
of "Night-
s t i c k,"
w h i c h
comes to
the screen
as "Alibi,"
gave Mae a
lead. It is
a United
Artists pic-
ture, and
an impor-
tant part in
a United
Artists film
is no small
Frances Lee.
Why has Pauline Garon
never been "discovered"?
Easy Come, Easy
matter. Here's hoping she stays there, where she belongs.
Up high.
Lila Lee was a little somebody playing in this and that for
companies nobody had ever heard of. And she used to be a
Paramount star. You remember her opposite Thomas Meighan
in his old pictures? Well, all of a sudden, a svelte and chic
siren appeared in a picture of marital complications called "Just
Married," and the siren was Lila Lee, in sleek coiffure and
earrings. And now she's opposite Richard Barthelmess, in
"Drag," and Tommy Meighan again in "The Argyle Case."
Just like old times !
There was another popular actress who, about five years ago,
was one of Paramount's box-office bets and would have ranked
high in a popularity contest. You remember Agnes Ayres?
She married Manuel Reachi and retired. She made only one
important appearance after that. Rudolph Valentino wanted
her for the flash-backs in "Son
of the Sheik." And so she
made a little aftermath in
Rudy's last picture. Then I
saw her in a two-reel comedy.
Imagine Agnes Ayres racing
through one of those trick
houses ! It was a pretty good
comedy as comedies go, but not
a vehicle for the lovely Agnes.
More fitting was the "Lady of
Victories," a color film, with
Miss Ayres as the Empress
Josephine. But, of course, not
an important picture, one not
generally shown. Now there
is a finis to Agnes' marriage,
and she has returned, more
beautiful than ever, in the all-
talkie. "The Donovan Affair."
Where others succeed, there
is always one who fails. A note
Bessie Love's comeback is now
historic.
Go
89
For
a year Helen Twelvetrees
been widely publicized.
has
of real tragedy is struck in the almost
successful comeback of the gorgeous
Alma Rubens. Absent from the
screen for some time, Alma returned.
a striking figure in a John Gilbert
success, "The Masks of the Devil."
Then the wonderful opportunity to
play Julie in the eagerly awaited
"Show Boat." Followed by a poign-
ant role in "She Goes to War."
Success indeed ! Then Alma's
dream castle crashed. She col-
lapsed in a nervous breakdown.
Unpleasant publicity swiftly and
surely broke down the walls of
her success. To-day she is in a
California sanitarium for narcotic
addicts, a pitiful figure. Some
day, perhaps. Alma will have an-
other chance. She is too beauti-
ful to go down in defeat. And
yet there was Barbara La Marr.
Doris Kenyon has made a
gradual return to prominence
during the past year. Doris re-
tired from films after her mar-
riage to Milton Sills to attend to
more important domestic duties.
When she came back it was as
her husband's leading lady in a
series of his pictures, but in these
she was subordinated to his more
dominant personality. Then she
appeared in "The Home-town-
ers" and "Interference." two of
the better films. She was once
more an important player.
Alberta Vaughn, capable but in-
conspicuous.
90
Easy Come, Easy Go
Betsy Lee has
played few
roles.
Betty Compson's re-
turn to prominence
was spectacular.
Mildred Harris is
another old-timer
who has recently
bloomed again after
a period of acting
"depression." Al-
though Mildred is
no longer sweet
sixteen, she is still
attractive, and Uni-
versal gave her the
feminine lead in its
first all-talkie, "The
Melody of Love."
She has also been
seen in "Lingerie"
and "Power of the
Press" for smaller companies, and in Billie Dove's
"Heart of a Follies Girl." A recent portrait of Mil-
dred in a shoulder-length bob was charming. How
these actresses keep their youth !
Another is Jane Novak. After having all but for-
gotten Jane, it was rather a surprise to see her with
Richard Dix in his color film, "Redskin." She did good
work. Nothing startling, to be sure, but a sincere per-
formance as the school-teacher. And so we find Jane
Novak with us again.
And Ruth Clifford. You remember her blond beauty.
She resembles the newer Dorothy Revier. But there
is room for the old, too, it seems. At any rate, the cast
of Olive Borden's "The Eternal Woman" numbers
Ruth Clifford in a prominent role.
Do you remember Kathlyn Williams when she was
starring in railroad thrillers and serial sensations ? That
was some time ago. The Kathlyn Williams whom we
see to-day is undeniably older, but she has found oppor-
tunity to play middle-aged mothers and society matrons,
and has returned effectively in "Our Dancing Daugh-
ters" and "Honeymoon Flats." Gladys Brockwell
and Ethel Grey Terry are other erstwhile favorites
who have returned in a similar manner. Miss Brock-
well in particular has been successful in Vitaphone
roles.
Further proof that the experienced are wanted in
talking films is evidenced in the case of Helene Chad-
wick, who it seemed was in the last, sad stages of a
long screen career. Then Paramount signed her for
a leading role in an important talkie, "The Greene
Murder Case." So Miss Chadwick will postpone her
swan song for an encore or two.
It is true that some of the old recruits take a few
downward steps in their return to the screen. Kath-
leen Clifford, for instance. There is quite a grand
stairway between her colorful role of the medieval
queen in the spectacular "Robin Hood" five or six
years ago, and the slangy hoofer in the backstage
scenes of "Excess Baggage." In one sense. And yet,
perhaps, the latter role was the better example of real
acting, even if it lacked the
prestige of the former.
Do you remember when
Winifred Bryson used to en-
act sirens and duchesses and
the like? We do, and we re-
member her last in "The
Hunchback of Notre Dame."
After that she retired profes-
sionally and was known simply
as the wife of Warner Baxter.
Recently, however, she was
seen anew in Billie Dove's
"Adoration." A duchess again,
but this time an impoverished
Continued on page 117
Betty Boyd frolicks in Educa-
tional comedies.
,*'■,:■''
A Metro - Gold wyn - Mayer
ALL-TALKING
ALL-SINGING
PRODUCTION
DIRECTED by KING VIDOR
Who Made "The BIG PARADE"
'Like little children that ain 't growed up'
CLAP yo' hands! Slap yo'
thigh! "Hallelujah" is here!
"Hallelujah" the great! "Halle-
lujah" the first truly epic picture
portraying the soul of the col-
ored race. Destined to take its
place in filmdom's Hall of Fame
along with "The Big Parade,"
"The Broadway Melody" and
"The Hollywood Revue." 5 King
Vidor wrote and directed this
stirring all -negro drama, this
absorbing story of the colored
boy, indirectly responsible for
his young brother's death in a
gaming house brawl, who be-
comes a negro revivalist; of his
devotion to his ideals; and of his
craving for a seductive "yaller
girl." 5 The soul of the colored
race is immortalized in "Hal-
lelujah." Every phase
of their picturesque
lives — their fierce loves, their
joyous, carefree pursuit of happi-
ness, their hates and passions —
finds dramatic expression against
vivid backgrounds of cabarets,
cotton fields, gaming houses, and
humble shacks called home.
5 Daniel Haynes, noted Negro
singer, plays the central char-
acter. Nina Mae McKinney, a
beauty discovered in the night
clubs of Harlem, has the leading
feminine role. In addition, the
celebrated Dixie Jubilee Singers
and other noted performers sing
the songs of the negro as they
have never been sung before.
Don't miss this tremendous
event in the history of
the screen!
Now playing simultaneously
at the Embassy and the
Lafayette Theatre, N. Y.
Twice Daily
%
r ■ »V • . *
Wt
' *
'n
—
''Soon forgotten were the fields of cotton'
METRO-GOLDWYN-MAYER
'More Stars Than There Are in Heafen'
"The Web Of Destiny," a new serial by Alice M.
Williamson, begins in Love Story Magazine on
October 5th.
Order your copy early and begin this thrilling story
of love and mystery. On the day before her wedding,
Joyce Grandon disappears. Several weeks later, her
body is washed ashore near her home. When the
funeral is about to take place, her fiance makes an
amazing discovery. What that discovery is will be
told in the first installment of "The Web Of Destiny."
Love Story Magazine
15c per copy Every week
&3ccapc&^^
9L
Snort and Snappy
Brevity in dress coats is the rule for tropical
heroes.
^ '
%
I
I 0*
i { * M H
Philip Strange and Lily Damita, above, in
"The Rescue."
O. P. Heggie, right, wears the tropical dress
uniform in "The Wheel of Life/'
Although best known in rough garb, Victor
McLaglen, below, dresses up for
"The Black Watch."
Neil Hamilton and Baclanova, above, are victims of torrid
love in "A Dangerous Woman."
Richard Dix, below, affects the short, white coat in "The
Wheel of Life."
»
92 Tneir
Continued from page 19
the radio, or phonograph, and con-
duct the unseen orchestra. If I were
to do that, would my guests care to
repeat their visit?
But Charlie is a genius.
When that brilliant English
woman, Clare Sheridan, came to this
country, she visited Hollywood and
met Chaplin. In her "American
Diary" she relates what occurred
when Charlie saw her sculptured
head of him. Clare writes as fol-
lows :
' 'It might be the head of a crim-
inal, mightn't it ' he remarked,
and proceeded to elaborate a sudden
theory that criminals and artists were
psychologically akin. On reflection
we all have a flame — a burning flame
of impulse, a vision, a sidetracked
mind, a deep sense of unlawfulness."
It seems a genius possesses this
flame to a marked degree !
Sometimes Charlie is tremendously
gay — laughing, jesting, the life of
the party ; conducting unseen orches-
tras ; making grandiloquent speeches
to imaginary audiences.
Just as quickly he turns to the
other extreme. He seeks solitude,
where the torments and sorrows of
the world surge through his wracked
brain.
Chaplin is no poseur. I believe he
genuinely expresses what he really
feels. He anticipated Eugene
O'Neill's "Strange Interlude" by
asking his few friends — when no
women were present — to "think
aloud." That's most embarrassing,
if you are one of those soul-tossed
Actions Speak Louder Than Words
beings flung into the vortex of ar-
tistic expression.
After a period of intense solitude
Charlie returns to Hollywood and
Henry's, as if nothing had ever
troubled him.
Could you put up with Charlie's
moods ? You could not ? Then you
have no compassion for the feelings
of a genius.
One fond gesture of a genius is
"to bare his soul to the world." How
many of the dear players, both young
and old, are reveling in their "soul
barings" — though the soul seems not
so much bared as
Well, I'm alluding only to those
possessing genius.
John Gilbert, for example.
John may be compared with his
namesake of the Barrymore clan.
His life and loves have been de-
scribed frankly and vividly by him-
self. John has no use for evasion.
His love throes have sounded like at-
tacks of measles.
His love episode with Greta Garbo
amounted almost to a national epic.
The Gilbert-Garbo affair blazed over
the world and received more reclame
than Madame Curie ever received for
discovering radium.
But John deserves praise for be-
ing honest in his utterances, at least.
Part of Don Ryan's startling
novel, "Angel's Flight," depicts vari-
ous ones of genius in the film capi-
tal. John is the young actor de-
scribed by the author. If this be so,
then John has jolly well seen life, as
they say.
The only excuse I can make for
J. G.'s peccadillos is that he can't be
ordinary. You've got it — he's a
genius !
Would you enjoy living with a
genius? I should prefer not.
One night, while driving down to
the beach with Eddie Nugent, I lis-
tened to this interesting young man's
ideas and desires, both active and
suppressed, while Samuel Richard
Mook, one of my fellow scribes — -
without adjectives — sat behind in the
rumble seat. One of Eddie's sup-
pressed desires is to conduct an or-
chestra. He told me that so great
is this yearning, that if he is alone
when he turns on the radio he imag-
ines himself to be the conductor!
But Eddie is not like Chaplin by
any means. If Eddie ever became a
genius he'd be the last person to
know it. He's too regular.
Before starting on our nocturnal
ride, I suddenly thought I'd need an
overcoat while driving. Eddie went
in and fetched a ridiculous-looking
coat he had worn in a picture. But
did it go against my artistic feelings
to wear it? Not on your life! If
the coat did not look quite right on
me, I hoped that people, glancing at
the flashing car, would mistake me
for a genius !
Believe me, boys and girls, I could
easily pass up the company of the
great — excepting la Goudal — for an
evening spent with young Nugent,
who has tons of knowledge, but acts
like an ordinary person — even as you
and I!
Tke
Continued from page 21
The situation is symbolic of Hol-
lywood at the present moment. Al-
though the Forbeses have made up
their differences, the rest of the town
is an armed camp. Each day brings
some new and startling development
in the wake of stage players crowding
to the fore. They have taken the
Coast by storm. Their doings make
the front pages of the newspapers.
John Gilbert even married one of
them, Ina Claire, three weeks after
they met. This is significant of the
Battle of the Accents
hysteria which prevails in the film
colony. No wonder Joan Crawford
took young Doug to New York for
their marriage ceremony. With
stage sirens of all ages cluttering up
the erstwhile Eden of the screen, the
place is no longer safe for susceptible
and bedazzled picture stars of the
male persuasion.
Hollywood is no longer a happy
hunting ground for interviewers,
either. Their feud with the stars
dates from the ushering in of the new
order. It is the thing now to high-
hat the humble fan scribe, once fed
and tenderly nourished, before the
infant industry learned to talk.
There is one hope for embroiled
Hollywood. Maybe Henry Ford will
drop his scrap with his greatest com-
petitor long enough to think up a
plan to get our boys and girls out of
the trenches before Christmas. Other-
wise it looks as though we are in for
a Seven Years' War.
THE GREAT TEACHER
The old town's changed ; they ain't no more
Swappin' tales at the grocery store,
Pitchin' quoits, er huskin' bees,
Quiltin' parties, er social teas.
No barn dances when the hayin's done,
Er country fairs ; but there's much more fun,
'Cause every night sees the hull town go
To the Palace movin' picture show.
Sure the old town's changed sence the movies come.
'Lectricity now — that's goin' some !
Got the streets marked out, and the women they
Dress in style like the folks in the play.
Got a public square like the one we seen
In a movie piece, right on the screen.
Oh, the mayor an' councilmen they ain't slow !
Study civic reform at the picture show!
Harold Seton.
93
Pretty Pigtails
These modern maidens can be gracefully old-fashioned in their
borrowed tresses, but still there is no hint of a Maud Muller in
the eyes of any of them.
Loretta Young, left, was the
patiently waiting fnna, a farm
girl de luxe, in "The Squall.''
and of course her lover's drill-
ing heart was won back.
Norma Shearer, above, poses
as one of those rare lasses
who wears heavy tresses and
-till believes daisies won't tell.
Braided and costumed for
Evangeline, Dolores del Rio,
below, look- as if she might
have just come out of Acadia.
Louise Fazcnda,
left, in "Noah's
Ark," is as much
herself in pigtails
and wooden shoes
as in frizzled bob
and sports sandals.
\
94
Continued from page 74
Victor, beaming with pride, brought
out three photographs — of Andrew,
of Mrs. McLaglen, and of Sheila.
Three hand-tinted photographs in
heavy, carved frames that must have
added considerably to the difficulty
of packing. But there they were, ac-
companying the proud pater-familias
on his travels, the first thing to be
unpacked in his hotel room.
Andrew, the nine-year-old boy, is
a manly youngster, with sweet, brown
eyes. Dark, and so good looking
you surmised at once that he resem-
bles his mother, rather than his fa-
mous father.
The surmise proved at once to be
correct. "This is my wife," said Vic-
tor, beaming. "She's the daughter
of a British admiral."
And Victor had reason to beam.
If there's anything to that old theory
that beautiful women marry homely
men, here was example number one !
Mrs. McLaglen is beautiful and
charming enough to be a star herself.
"And this is Sheila," said Victor.
Well, you've seen those precious
five-year-olds whom you want to hug
at sight? Sheila's one of them.
Blonde, blue-eyed, another beauty
like her mother.
"Tell me about Sheila."
"Oh, Sheila's a regular, little
woman," said the proud parent, "with
He's a Soft-Boiled Egg
dozens of dolls that she mothers.
And I had a little house built just
for her."
"A doll's house?"
"Oh, no, a real house outside our
own. A stucco house, with a red-
tiled roof. Big enough so that I can
stand in it by stooping a little. It's
a complete house, just as completely
equipped as the one we live in our-
selves, only smaller, of course. It
has four rooms — sitting room,
kitchen, bedroom, and bath. It has
a real telephone, and Sheila just loves
to phone in grown-up fashion to all
her little friends. She carries on
long conversations with Faith, Clive
Brook's little girl.
"She turns on her radio whenever
she wants music, or plays a record
on her own little phonograph. And
she's the busiest, little housewife you
ever saw, going around with a dust
cloth ; everything in the house is
simply spotless. She cleans it all by
herself.
"And you should see the way
Sheila can cook. She has a little
electric stove, and she gets batter
from the cook and makes muffins,
or hamburger steak which she fries.
Sometimes I go in and have lunch
with her, and she serves it with all
the skill and aplomb in the world.
"She takes her housekeeping very
seriously. When I ring her door-
bell, she doesn't allow me to say, 'Is
Sheila there?' Oh, no, indeed. In
her house she's not Sheila. She's the
madame. I must say, 'Is Mrs. Mc-
Laglen in?'
"So Sheila smiles like a regular
hostess and says, 'Do come in. Won't
you have a chair?' And the other
day she said, very politely, 'Will you
excuse me just a moment? I'm very
busy just now.' And off she dashed
to look at her meat cooking in the
stove.
"You can see how I'm trying + o
bring up Sheila. Already she's com-
pletely sure of herself as mistr; js of
the house. Even at the age of fiv
she has learned to be a gracious r
tess. And of course it is teacl
her how to run a house — how to ccok,
if she ever has to cook. She'll grow
up to be a completely competent
housewife."
An intelligent father? Well,
rather ! A man of the world, who
speaks, literally, the king's English.
The son of an Episcopal bishop —
"Though you'd never know it to
look at me," said Victor.
Rather a different picture, isn't it,
from the roughneck star of Fox
films? From the man who got his
professional start by boxing.
Continued on page 111
Continued from page 3
sation of Europe is Anna May Wong.
She is a big hit in pictures all over
the Continent, but her social triumphs
almost top her professional ones.
"Anna May has become as inevi-
table a guest at all big functions as
Fanny Ward and the Dolly sisters.
She is pointed out to all tourists as
one of the sights not to be missed.
In fact, it wouldn't surprise me to
find her in the next edition of Bae-
deker. If you know your Europe,
you say 'As rare as a night when
Anna May dines at home.'
"I am awfully glad," Fanny went
on earnestly. "It always seemed to
me that Anna May didn't get half the
breaks she deserved in Hollywood.
Many a time I have seen her trying
to swallow her disappointment at not
getting a role. . She was a problem
for the casting directors."
"But why?" I asked. Anna May
always gave capable performances.
"Well," Fanny explained, "she just
didn't fit into their cut-and-dried
ideas of what a Chinese girl should
be like — and you know how casting
directors run to types rather than to
ability. Anna May was too poised
and gracious and she looked too chic.
I remember when she was tested for
Over the Teacups
the part of a half-caste and was
turned down. They said she didn't
look foreign enough. So they took
an American girl — shall we be gen-
erous and say of the peasant class?
— and made her up to look more
Chinese than any Chinese girl ever
looked.
"Anna May wanted to come home
for a visit between pictures. She
tried to book passage on the Graf
Zeppelin, but couldn't induce any one
to part with his reservation. She was
a good sport about her disappoint-
ment, though. She gave a big lunch-
eon for all the passengers just before
the airship took off.
"Douglas Fairbanks and Mary
Pickford are sailing soon for a vaca-
tion in Europe. Douglas Fairbanks
will be pleased at Anna May's suc-
cess in Europe. He is one of the
few producers in Hollywood who
ever gave her a good role."
Fanny's preoccupation with Europe
was ominous. Remembering how,
unwarned, she had whisked me off
from Hollywood to New York, I
began to grow apprehensive.
"Gertrude Lawrence finished 'The
Battle of Paris' at the Paramount
studio the other day and rushed off to
a play in London. The parting was
nothing short of tragic. Every one
in the studio simply adores her."
Hastily I tried to think of some-
thing to distract Fanny's mind from
sailings. A moment later I was re-
lieved.
"They will all be coming back soon,
though. Miss Lawrence is to do
'Candle Light' on Broadway, and an-
other picture for Paramount, so we
shall have her with us again.
"And who do you suppose is in
town?" she asked brightly, and I
knew from the hurried way that she
started gathering up her belongings,
that she was about to rush me off to
see one of her super-special favor-
ites.
"Estelle Taylor!" she announced
with enthusiasm. "She is rehearsing
a sketch for vaudeville. We'd better
rush right over to her hotel now.
Once she gets started on tour, she
will be as lost to her friends as though
she were exploring darkest Africa."
But with Leatrice Joy, Mae Busch,
Doris Kenyon, Irene Rich, and any
number of others touring in vaude-
ville, their routes must cross some-
times. And what homesick Holly-
wood reunions there must be then !
95
All, All Is Vanity
And to prove it, these stars show the more or less ingenious
places where they conceal their lipsticks rather than be caught
without one.
Joan Craw ford, right, seems
proud of a rather deadly-look-
ing lube which apparently
contains all a lady's needs —
though if you ask us !
Carmel Myers, above, has what she
calls a sanitary lipstick to imitate a
match and be discarded after one
application of carmine.
Fay Webb, below, is one of
those girls who loves her lit-
tle joke, for when timid souls
swoon at the sight of a dagger
thrust in her stocking, she
restores them with the infor-
mation that it is just a per-
fume vial !
Sally O'Neil, above, looks
heavenward as she snaps open
a woolly puppy and discloses
in its tummy all the neces-
saries of a perfect lady.
Marcclinc Day, left, ever girly girly,
points to her lipstick carried, for
some esoteric reason, in the heart of
a satin flower on her shoulder. Now
you know what a strain it is to be an
actr
96
Continued from page 65
There's much more to the proceed-
ings than this, and many more char-
acters than those mentioned. As a
side issue of this tawdry plot we
hear a lot of talk about the decaying
condition of English society, with ac-
tive evidence to prove it. Besides
Miss Shearer, who does well — re-
markably well — the cast includes fa-
miliars like Hedda Hopper, George
K. Arthur, and Maude Turner Gor-
don. The others — George Barraud,
Herbert Bunston, Moon Carroll, Cy-
ril Chadwick, and Madeline Seymour
— are from the stage.
Murder Mystery De Luxe.
My first enthusiasm for "The
Greene Murder Case" is lessened by
what has been told me by those who
have read. the book. Before being
somewhat disillusioned by the changes
made in the story, I thought the pic-
ture just about the finest mystery
story I had ever seen. For that mat-
ter I still do, notwithstanding the dis-
parity between novel and film, and I
shall tell you why, hoping that you
too will enjoy the picture as I did
in happy ignorance.
Again William Powell is Philo
Vance, the dilettant detective, as in
"The Canary Murder," but with this
difference. He is the center of a far
more engrossing plot, his lines are
better and his acting therefore gains
in authority, restraint, and incisive-
ness. Magnificent actor always, he,
like all others, adds to his stature
when he has good material. And
that he most assuredly has in Philo
Vance's latest exploit.
He is called in to solve mysterious
deaths in the Greene family. First,
the elder son of old Mrs. Greene, con-
fined to her bed by paralysis, then
the younger comes to a violent end,
followed by the sudden demise of
Mrs. Greene herself, leaving her two
daughters to share the enormous for-
tune which all the family would have
enjoyed in a few years. Well, I was
never more surprised in my life than
by Philo' s unraveling, thread by
thread, as well as by the denouement.
But you won't get so much as a syl-
lable of a clew from me !
Enough to say that every one gives
a fine performance, and that the pro-
duction too is really noteworthy, be-
cause here are no self-conscious ef-
forts on the part of the director to
overlay the proceedings with horror
and mystery. The whole story is told
simply, directly, almost casually-
Principal players are Florence El-
dridge, Ullrich Haupt, Jean Arthur,
Eugene Pallette, and Morgan Farley.
Never the Twain Shall Meet.
If you know the story of "Evan-
geline" — and who doesn't? — you will
The Screen in ReVieW
not go to see it expecting to be
thrilled to the marrow and your
blood to be chilled. This is men-
tioned at the outset in citing an ex-
quisitely beautiful picture for hon-
orable mention, because its tranquil-
lity, even lethargy, are its only faults.
Yet they are not that, because this
quality is inherent to the original, and
a faithful transcription of the poem
could yield nothing else. Besides, to
some of us the thrill of pure pictorial
beauty is often more moving than
self-conscious dramatics. There are
none of the latter in "Evangeline,"
but moments of poignant emotion and
mile after mile of breath-taking
scenic beauty, so carefully composed
as to remind us once more that Na-
ture is the eternal artist and man her
occasional imitator.
Perhaps the most striking episode
that does not depend on background
so much as direction, is the expulsion
of the simple Acadians by British
troops. Families are separated, ba-
bies torn from their mothers, old men
are beaten and left to die, and Evan-
geline and Gabriel are parted, never
to meet again until he is dying and
she comes upon him, an aged sister
of mercy. The interval, covering
many years, shows her search for
him through the length and breadth
of the land.
Evangeline is, in my opinion, Do-
lores del Rio's finest performance
since "Resurrection." It is beauti-
fully sincere and infinitely pathetic.
Her singing is haunting, her voice
flexible and sweet, and her transfor-
mation into an aged, bent sister in
the last episode is admirably devoid
of histrionics. Roland Drew, as
Gabriel, is not sufficiently romantic in
appearance or manner to suit my
taste, but Donald Reed, in the lesser
role of Baptiste, is.
Ireland As It Isn't.
You won't find a more piquant and
charming star in the talkies than Col-
leen Moore, in "Smiling Irish Eyes,"
her first experiment with dialogue.
She is wholly delightful in song and
speech. But lest you think that all is
peaches and cream, I must heed my
conscience and tell you that the pic-
ture is far, far below the gift; Miss
Moore brings to it. In fact, it's
rather dreadful in its commonplace-
ness, its self-conscious quaintness and
its falsely sentimental representation
of Ireland, all reminding one of a
medley of old-time plays such as
Chauncey Olcott, Andrew Mack, and
Fiske O'Hara used to sing through.
However, the fact remains that Miss
Moore has carried many a weak pic-
ture in silence, and there is nothing
to indicate that her valiant efforts
will go for naught in putting this one
over, however the judicious may
grieve for her burden.
You see, it's all about little Kath-
leen O'Connor, who believes in fair-
ies, wishing wells and such, and her
sweetheart, Rory O'More, a fiddler.
After this, that and the other thing
happens to spin out their childish ro-
mance and saturate the screen with
Irish atmosphere, Rory goes to New
York to make his fortune. Into the
toils of a show girl he falls and is
helped by her to sell his song, "Smil-
ing Irish Eyes." Whereupon Kath-
leen, piqued by his silence, sails across
the seas to find him, only to return
to Ireland and find a stack of accu-
mulated letters. Nothing does but
that she must again set sail, this time
finding her way backstage with no
difficulty at all and jumping to the
conclusion that Rory is faithless. As
casually ?s vou please, she returns to
her thatched cottage and the wishing
well and there Rory, rich and suc-
cessful, finds her.
There is more transatlantic travel
in this picture than ever I saw be-
fore, with nary a word about the cost
of all poor Kathleen's running back,
and forth. But I don't think any
purser would begrudge so engaging a
girl as Kathleen a trip on the finest
ship afloat, for she'd be invaluable as
an entertainer of jaded passengers.
James Hall, as Rory, has a good
voice and a fatuous role, and the long
cast reveals such stand-bys as Aggie
Herring, Claude Gillingwater, Betty
Francisco, Julanne Johnston, and
Tom O'Brien.
Mr. Jolson Never Disappoints.
"Say It With Songs" is Al Jol-
son 's new picture and there is plenty
of both Mr. Jolson and his singing.
I should say about a million dollars'
worth, if we may estimate it by the
success of "The Singing Fool."
The new picture is cut from the
same pattern, which is to say that an
ordinary plot has been cued to permit
the star to sing of the subjects dear-
est to his heart — and in the oddest
places. One of his solos is rendered
on Brooklyn Bridge, startling in its
complete absence of traffic. But this
serves a good purpose, for it mirac-
ulously enables his son, Little Pal.
to speak again after he has been
paralyzed. How this is accomplished
remains a mystery, except that Mr.
Jolson appears to visit the child in
double exposure and leaves behind
some of his vocal vigor.
These unusual occurrences begin
where Mr. Jolson, as Joe Lane, a ra-
dio singer, is told by his wife that the
manager of the broadcasting station
has asked her to invite him to dinner.
The invitation is to be extended if
Continued on page 98
97
In Loving Memory
The stars keep photographs of their friends — and them-
selves — to remind them that admiration and affections
are ties that bind.
Marian Nixon, above, keeps the photo
framers busy adding treasures to her walls.
See if you can discern familiar faces. Isn't
that Ben Lyon, upper left?
John Barrymore,
right, finds him-
self in the besl
of c o m p a n y —
numerous photo-
graphs of himself
in memorable
roles, as well as
the armor he-
wore as Richard
III on the stage.
" nr?-^ -?e i
George Lewis, left, lovingly hangs on
his wall a Japanese poster of himself
in the "Collegian" series, this treasure
being flanked by a photograph of him-
self already there.
Alice Day, below, at home with her
photographs and a few magazines, the
former reminding her of friends tried
and true, and the latter to be scanned
hopefully for reminders of herself.
Ailecn Pringle, left,
contemplates the sun-
light from the window
of her writing room.
its walls decorated
with old Chinese prints
and a few not old
American gentlemen.
98 _
Continued from page 96
tlicre is any hope for the manager's
willingness to help Joe along if his
wife will — yes, aren't men beasts? It
seemed to me particularly dumb of
the wife to have told, but if she
hadn't there would have been no suf-
fering and sorrow for anybody. So
Joe calls the manager a rat and kills
him. For this he is sent to prison,
where he cheers his fellow convicts
with song, and broadcasts as well.
On his release he visits Little Pal in
school, and in following his father
the boy is swept down by a truck.
The doctor whom Joe consults is in
love with Joe's wife and his fee is
$5,000 for a life-saving operation,
but this will be waived if Joe will
relinquish the child. So it's just one
agony after another for poor Joe, but
as intimated above, everything comes
out all right.
Mr. Jolson sings at least seven
songs, Davey Lee repeats the per-
formance so many like, and Marian
Nixon nicely plays the faithful,
though tactless, wife.
Rod La Rocque Speaks.
The talkie debut of Rod La Rocque
takes place in "The Man and the Mo-
ment," opposite beautiful Billie, the
dulcet Dove — and he comes through
splendidly. I say this because his
voice records exactly as it does in
conversation, and because he has a
role which displays his whimsical
banter and that humor which is so
much a part of his real self. Miss
Dove, in a role less hysterical than
in "Careers," is also nice, but it is
Mr. La Rocque who evokes the most
audible response from audiences, be-
cause he makes them laugh.
The picture is unimportant, but it
is as diverting as one of those glossy
society films, with a whipped-cream
filling, could be. Michael, a gay phi-
landerer, and Joan, a sheltered snow-
drop, marry ; he to extricate himself
from a liaison, she to escape the cho-
ler of a guardian. But of course
Michael's lady friend is not so easily
shed. She seeks to ruin Joan's repu-
tation, but Michael somehow saves it
by smashing a glass tank in which
high society is disporting in an under-
seas ball a la DeMille. There you
have it. Besides the stars, there is
Gwen Lee.
Made in Germany.
Three European favorites appear
in a German silent picture called
"Hungarian Rhapsody." They are
Dita Parlo, Lil Dagover, and Willy
Fritsch, who became an American
favorite in "The Last Waltz." Play-
ers and picture are well worth see-
ing, if you care for a smoothly di-
rected, carefully acted, and skillfully
photographed film of unvarying
The Screen in ReVieW
charm rather than wrenching mo-
ments. Backgrounds of waving
wheatfields are beautiful, as well as
moonlight dappling the lovers in their
trysting place under the trees ; and
the prayer of thanksgiving for the
harvest is strangely moving.
The story is that of a dashing offi-
cer too poor to marry the girl he
loves, and too proud of his uniform
to give it up and go to work. He is
drawn into a dangerous flirtation with
the wife of the resident baron, and
when they are in peril of discovery
his sweetheart saves them at the ex-
pense of her own reputation. This
brings about the officer's awakening
to the true worth of the girl, as well
as the worthlessness of an idle life.
All this has a quality, a feeling, all
its own. I hope I have communi-
cated enough to send you to see it.
More In Sorrow Than Anger.
"Fast Life" is the sort of picture
that gives most critics acute pain,
and the kind that producers excuse
by saying to us, "Poor fish, it's what
the public wants."
But that doesn't excuse it at all,
for if it pleased some one to bring
it to the screen, the shallow, theatric
story and the bombastic acting could
have been toned down and the whole
disguised by good taste and restraint.
As it is, "Fast Life" is a distressing
exhibition of actors allowed to rant at
will. I say allowed, because Chester
Morris and John St. Polis have ac-
quitted themselves brilliantly in talk-
ies, the former in "Alibi" and the
latter as Mary Pickford's father in
"Coquette." But you would never
guess it from their actions and ut-
terances in the new film. So we
must hold it against the director for
giving them a free hand.
Mr. Morris is Paul Palmer, the
governor's son, whose friend, Doug-
las Stratton, is about to be electro-
cuted for a murder Paul committed.
Which means that we must pay the
penalty by watching all the old, fa-
miliar scenes — the pleas to the gov-
ernor, the singing prisoners, the long-
drawn-out march to the chair, from
which, incidentally, the prisoner es-
capes without explanation. But this
is merely to prolong the agonized
contortions of Mr. Morris as he strug-
gles against the temptation to "tell
all," and thus ruin bis father's po-
litical chances at the cost of his
friend's liberation and his own life.
Now, this is a melodramatic situa-
tion of the kind known as strong,
and it might have conveyed the full
intent had the director forgotten the
antiquated theater and been decently
generous with his use of the soft
pedal. But the writhing of Mr. Mor-
ris, his grimaces and contortions con-
veyed nothing to me except envy of
an actor having a sweatingly good
time tussling with a hammy scene.
There is a lot more to the picture
than this, but I found the events that
led up to Mr. Morris' selfish pleasure
equally shallow. Douglas Fairbanks,
Jr., not at his best, is the falsely ac-
cused murderer, and Loretta Young,
as his wife, is appealing, but the in-
nuendoes cast upon her relationship
to her husband aren't pleasant.
Starving in Silk.
"Street Girl" bored me intensely,
but I heard others laughing with glee,
so you can join them, or sustain me
in my task of trying to tell you what
the picture is about. There really is
no effort attached to that. So far as
plot goes, there is almost none. Noth-
ing at all to cause even a backward
child to ask who's who, or what's
what. But there is an effort neces-
sary for me to remember the least
entertainment in it. So bear with me.
It seems that a dear, little girlie
named Freddy is starving on the
streets of New York in silk stockings,
plump chin, heavy make-up, and a
permanent wave. She is encountered
by a young musician in a jazz band,
who takes her to the room he shares
with three companions and persuades
her to remain by the simple expedi-
ent of curtaining off a corner with a
sheet. Whereupon Freddy becomes
the little mother of the quartet whom
she quaintly nicknames "Spring,"
"Summer," "Fall," and "Winter."
She cooks, presses their clothes and
manages their careers. Though
homeless, penniless, and all else the
night before, she goes to a swell res-
taurant managed by an old friend
and persuades him to employ the
quartet at a large salary. She her-
self performs, too, cutely playing the
violin as she sways from table to
table. Then the prince of the mythi-
cal kingdom of which she is a na-
tive arrives, and his fervor on recog-
nizing Freddy as a subject causes
him to kiss her on the forehead. So
the young musician becomes jealous
and— did you put me on the witness
stand I could remember no more.
It's all a blur of singing, dancing,
wise-cracking, and so forth. But, as
I said, people did laugh — perhaps
from enjoyment, perhaps not. '
Betty Compson, as Freddy, is not
at her happiest in a sugary role, but
Jack Oakie, as one of the jazz boys,
i.5 as good as his lines permit. John
Harron, Ned Sparks, and Guy Buc-
cola are the other "boys," this prob-
ably being the first time Mr. Sparks
has been so denominated in the last
quarter century. Ivan Lebedeff is
le Prince.
90
Skades of Terror
How would you like to be placed in such dire situa-
tions as these scenes suggest?
Louise Closser Hale and
David Newell, above, in
"The Hole in the Wall,'
are terrified of the name-
less kidnapers of Miss
Hale's grandchild in the
film.
Jean Arthur, right,
in "The Greene
Murder Case," has
lots and lots to be
afraid of, com-
pared to which the
shadow of a knife
is nothing, as you
know if you saw
this stirring film.
Do you remember this
scene from "The
Haunted House," left,
in which every one was
on edge during the
eerie goings on in the
ghostly mansion?
Carol Lombard, below,
has good cause to be
nervous of shadowy
handcuffs in "High
Voltage."
Fredric March, left, in
"The Studio Murder
Mystery," plays the role
of an actor who is mys-
teriously murdered in
the course of filming a
movie, and as he has a
great deal on his con-
science, you can't won-
der that he's nervous of
shadows.
100
Continued from page 53
directed in the heyday of his career
as a silent-feature genius — a magnum
opus, so to speak.
Plans were announced recently
at a luncheon given for a group of
newspaper men, and had a certain
awesome character. Joseph M.
Schenck, executive head of United
Artists, presided. To enliven the
proceedings there were songs by
Harry Richman, the night-club star.
Griffith himself told with emotion,
most genuine and sincere, of his in-
tention to relate a human and tender
story of the great president, and one
could not fail to be impressed by his
deep sympathy with the subject.
Griffith has wanted to do this picture
for ten or twelve years. Prior to
that, he had once touched on the idea
in "The Birth of a Nation," the as-
sassination of Lincoln being a sig-
nificant climax in that historic event.
Mr. Schenck remarked that in re-
cent years the Griffith efforts had
been confined to smaller productions,
and that he was not fulfilling the de-
sire of the public that admires his
greater achievements.
"Mr. Griffith's most outstanding
pictures have always spelled some-
thing more than mere entertain-
ment," he said. "They are the kind
of pictures that are not and cannot
be forgotten. He has been the leader
in the past, and it is only proper that
he should continue to occupy a posi-
tion of preeminence in the future.
The picturegoer expects much more
of him than the ordinary director, and
we feel that he should have oppor-
tunity to make exceptional pictures."
Confidence seems strongly felt in
Hollywood that the older and more
experienced directors will forge ahead
in the talkies, not only because of
their experience in the studios, but
because a majority of them have a
knowledge of the theater as well.
Old Styles Must Go!
Something is going to happen to
the formal dress of men in Holly-
wood. It's in the air. The tuxedo
and the full-dress coat are beginning
to pall upon the well-attired heroes of
pictures when they are socially ac-
tive. A 'hot summer in Southern
California, with wilting collars and
shirts, has led to an open advocacy
of the change, and surprising as it
may seem, Basil Rathbone and Ivan
Lebedeff, two of the strictest adher-
ents to Prince of Wales styles, are
among the leaders in the proposal.
An agreement is being reached by
these actors and an associated group
for the discarding of conventional
garb for the white Eton, or pea
jacket, at dinner dances. This jacket
is like a full-dress coat, sans tails,
Hollywood Higk Ligkts
and if adopted will cause an upheaval
in movieland traditidns. Also, like
the toreador trousers of some years
ago, it probably will be adopted by
ail the young sheiks, with results both
grotesque and amusing.
This garb is not altogether unfa-
miliar at summer dances in the East,
but thus far has not penetrated the
West.
Immortalized in Song.
Still very much in the air is the
romance of Harry Richman and Clara
Bow. They agree and disagree at
regular intervals, and frequently have
something to say about each other in
the newspapers. They are a pleas-
antly frank pair, and if it is true that
the course of true love never runs
slickly, then theirs is sure to be a
match.
One of Clara's latest announce-
ments is that she will go to Europe,
and that Richman probably will meet
her there. Also she avers, with great
seriousness, that she is likely to re-
tire from the screen on marrying.
The trend of her theories is the usual
one that a wife cannot be a wife and
have a career.
Richman is evidently devoted, for
one of the songs that he warbles
these days mentions Clara's name.
The song is called "Ga-ga," and one
of the lines indicates that the singer
has gone so "ga-ga" that he is "being
a child and playing with mud pies."
Now make of that what you will.
At that, it is an amusing and rather
clever number.
Lillian, the Perplexing.
Will Lillian Gish return to the
screen — and when ? Puzzlement seems
to surround the continuation of her
career. The Reinhardt picture she
was to have starred in is long since
forgotten, and she herself has been
absent in Europe for the summer.
The latest talk is that she may do
"The Swan," once produced by Para-
mount, with Frances Goldwyn, then
Frances Howard, in the stellar role.
The story is ideal for Miss Gish, and
should be better in a talkie than a
silent version.
Now the question is, How will her
voice record? Studio opinion seems
favorable.
Heir to Gloria Role.
Ruth Chatterton is nothing if not
an inheritor of great dramatic roles.
In "Madame X" she was elected to
do a character that Pauline Frederick
once imbued with glamour on the
screen, and in "Charming Sinners"
she assumed a part for which Ethel
Barrymore gained attention on the
stage.
Now, if nothing happens to dis-
turb present plans, she will be seen
in "Zaza," in which Gloria Swanson
acquired honors on the silent screen.
Strangely enough, there seems some
rivalry for this particular picture, be-
cause Clara Bow has also been men-
tioned as its star. Our surmise is
that Miss Chatterton will play it.
Specters Rise Again.
Even from the musty archives are
films being resurrected for the inter-
polation of talkie sequences. That's
a new wrinkle, incidentally — musty
archives and wrinkles going nicely
together.
One of the first to be provided
with dialogue is "The Phantom of
the Opera."
Lon Chaney will remain a silent
character, but Mary Philbin and Nor-
man Kerry will speak. Chaney not
only has thus far declined to become
audible, but he is under contract to
Metro-Goldwyn. "The Phantom of
the Opera" is a Universal film.
War and Reprisals.
A rift almost loomed in the long-
time friendship of Norma Talmadge
and Fannie Brice, when the latter was
refused permission to enter the stage
where Norma was working. The
gateman chose to keep her out, be-
cause he said he had instructions to
"admit absolutely no one."
"All right, then, you tell Norma
that she can't come over on my set,
either," exclaimed Fannie with (per-
haps) mock pepperiness, and went
away. Very shortly a messenger ar-
rived from Miss Talmadge's stage,
urging Miss Brice to return immedi-
ately.
The two stars joked about it after-
ward.
The Shifting Gang.
In the words of a studio wit, a
large vacancy occurred in Our Gang
when Joe Cobb left to free lance.
Joe is the stout boy who has been
with the comedy youngsters for six
or seven years. Very often he has
been their leading actor. However,
Joe felt that the far field looked
greener, particularly as a rival had
come into, the lists, namely Norman
"Chubby" Chaney. Chubby is nine
years old, sends the scales up to 106,
and is just a trifle less than four feet
tall.
Farina, who is the senior member
of the company, was signed again
about the same time that Cobb with-
drew. It is felt that Farina's vocal
powers will guarantee his success.
101
It's A Fad
That's the only way to explain the decorations
which appear on the sweaters of these charmers.
Kathryn Crawford, left,
{joes in heavily for cari-
catures of the comic-strip
variety.
While Carol Lombard,
right, is popular with sen-
timentally inclined gentle-
men.
v y \
I
L
Mary Philbin, center, wears her souvenirs
sweetly, coyly, hopeful of more.
Joan Crawford, lower left, points proudly to her
smallest decoration, '"Dodo" Fairbanks' bleeding
heart.
Sally Eilers, below, smiles in spite of
somebody's reminder of the terrifying
microphone, though Sally isn't terrified
at all.
V
fHIKP
•
F
m
^.
102
^1
Information, Please
A department where questions are answered, advice is given,
and many interesting phases of motion-picture
making and pertinent side lights on the lives and
interests of motion-picture players are
discussed.
Bj> The Picture Oracle
J'i
V
sr-r,,
CRAZY ON HEIGHTS.— What hap-
pens in depths? Are you crazy then,
too? So I'm a "wiz" if I live through
your questions? If living through ques-
tions made me a wizard, I'd be pulling
rabbits out of hats by this time. Mary
Astor is five feet six and weighs about
120. Mary Nolan, five feet six ; weight
112. Gwen Lee, five feet seven; weight
135. Charles King, five feet eleven, weight
160. Lilyan Tashman, five feet five,
weight 112. Dorothy Mackaill a half inch
shorter, weight 115. Eddie Nugent doesn't
give his height in his biography ; I haven't
Armida's description. As for Anita Page,
her official height is given as five feet two
and weight 118, and who am I to dispute
a lady's word?
Donald Beaver. — As to why Charlie
Chaplin doesn't like the talkies, my guess
is that it's because he's not a talkative per-
son. Louise Fazenda was born in La-
fayette, Indiana, June 17, 1895. She has
hazel eyes and weighs 135. Her next
film is "Hard to Get." Pauline Freder-
ick's new pictures are "Evidence" and
"The Sacred Flame," both Vitaphone
dramas. No, Esther Ralston hasn't left
the screen; her latest film was opposite
George Bancroft in "The Mighty." Eileen
Sedgwick _ is working in a serial called
"The Vanishing Westerner."
Eloise Spaid.— Well, I'd -rather be
"pounced on" with questions than with a
pitchfork. The Mary Brian club has
headquarters with Clara Fochi, 53 Villa
Avenue, Yonkers, New York. Clara Bow
clubs are as follows : Romolus Gooding,
93 Broad Street, New Berne, North Caro-
lina; Louise C. Hinz, 2456 Sheridan Ave-
nue, Detroit, Michigan ; Ida Katz, School
No. 80, Federal and Eden Streets, Balti-
more. As for all those "sister teams" you
ask about, they are rather obscure stage
dancers engaged to perform in a picture,
and I have no addresses for them.
A. K. — Anita Page's height is giving me
lots of trouble. Her biography gives it as
five feet two, but she certainly looks many
inches taller than that. Ramon Novarro
was born February 6, 1899. He is five
feet ten. Music is very much his hobby !
I understand his new contract calls for
six months of film work and six months
on the concert or opera stage. I think
Dorothy Janis did her own singing in
"The Pagan." Yes, George Webb was
married before he wedded Esther Ralston.
Any one may belong to a fan club just by
writing to the person in charge. The pur-
pose of these clubs is to enable fans of
the various stars to get together by cor-
respondence. Esther Ralston's club has
headquarters with Mabel Hill, 1250 South
Normal Street, Chico, California.
Margot Watson. — A worshiper at the
shrine of Joseph Schildkraut ! Well, he's
working quite hard these days. You have
probably seen him 'by now in "Show
Boat," with Laura La Plante. The names
of pictures which he is to make are, at
present, "Mississippi Gambler," "Bachelor
Husband," "Man About Town," and "The
Melting Pot," leading ladies not yet an-
nounced. Of course all these titles may
be changed before the films are released.
J. B. — Yes, the talkies have given Ruth
Chatterton a fine opportunity. Of course
you know she was well known on the
stage before she began her movie work.
She was born in New York City, but
doesn't say when. She is five feet and
weighs 110. Her picture, following
"Madame X," was "Charming Sinners"
and her next will 'be "Sarah and Son."
B. L.— See J. B. above. Ruth Chatter-
ton also played in "The Doctor's Secret,"
"Sins of the Fathers," and "The Dummy."
Nancy Carroll was born November 19,
1906. Five feet three; weight 116. Anita
Page's next films are "The Gob" and
"Speedway," both with William Haines.
Cleo Haines. — So these questions have
bothered you for a long time? Never let
a question bother you; there are too many
other bothers in the world. David Rol-
lins has two fan clubs, both in Pennsyl-
vania. One is with Bella Jaffe, 1110 Bush-
kill Street, Easton, and the other with
John Allen, 230 Pine Avenue, McKeesport.
I don't know whether he flew the airplane
'himself in "The Air Circus." His new
pictures are "Why Leave Home?" — a
musical film version of "Cradle Snatch-
ers" — and "Meal Ticket." Arthur Lake
was born in Corbin, Kentucky, in 1905.
He is six feet tall. Richard Arlen was
born in Charlottesville, Virginia, Septem-
ber 1, 1899; James Hall in Dallas, Texas,
October 22, 1900. Warner Baxter was
born March 29, 1892. Baclanova is five
feet four and weighs 123. Mary Brian is
twenty-one, June Collyer twenty-two.
June's real name is Dorothea Heermance.
The nearest stellar birthdays to March 7th
are Lois Moran's on the first, and Dorothy
Gish's on the eleventh.
D. E. M. — I don't usually answer ques-
tions about star's religion, but in the case
of Buddy Rogers I don't mind admitting
that the report that he is Jewish is based
on his playing in "Abie's Irish Rose."
That's Charles Rogers' real name. "Lady
of the Night" was released in February,
1925. Norma Shearer's supporting cast
included Malcolm McGregor, George K.
Arthur, Dale Fuller, Fred Esmelton.
Bebe Daniels still has one film not yet
released by Paramount, "Number, Please."
Edward'Nugent doesn't give his age. See
A. K.
E. L. D. — To join a fan club, just write
to the person in charge and you will be
sent a membership blank. William Bake-
well was born in Los Angeles, May 2,
1908. Write him in care of his publicity
agent, Dave Epstein, Hollywood, Califor-
nia. There is no William Bakewell club.
I don't know what you can do about the
unacknowledged quarters you sent for pho-
tographs.
Frances Harris. — Yes, indeed, I'll keep
a record of your Dorothy Janis club, pro-
vided you're not a little girl who'll get
tired of it by the time the letters start
coming in. Did Colleen Moore like the
little verse you composed about her? Jetta
Goudal's name is pronounced Jet-ta Gou-
dal, accent on dal, short "a." I don't
know why Gary Cooper should be called
upstage; I've met him and he's rather
quiet, but very friendly. No, Thomas
Meighan hasn't quit the movies ; he's been
making "The Argyle Case" for Warner
Brothers. I believe Johnny Hines is to
make "A Pair of Sixes" for Pathe.
P. K. — Well, P. K. is very smart for
girls' dresses this year, I believe. What
a question box you turned out to be !
Maurice Chevalier was born in a suburb
of Paris called Menilmontant, "less than
forty years ago," according to his biog-
raphy. He is not quite six feet tall,
weighs 165, has brown hair and blue eyes.
Continued on page 119
Continued from page 13
Honored By Joan.
In July Picture Plav there was a let-
ter signed B. F. U., Omaha, Nebraska.
The caption of this letter was "Stamps
Wasted on Joan."
May I not say to B. F. U. that I think
Joan Crawford is not the lea>£ bit high-
hat, as B. F. U. will realize when he
knows the truth.
When I first wrote to Miss Crawford,
requesting her photograph, I received no
reply, although I had enclosed twenty-
five cents. I wrote a second time, about
three weeks after the first request, asking
why I had not received the photograph,
and still no reply.
While awaiting an answer to my second
letter, I thought I would try writing to
Miss Crawford's home. I did, and was
certainly surprised and pleasantly shocked
to receive, about two weeks later, not only
a small photograph, but a personal note as
well. In the meantime I received a larger
photograph from the studio, where I had
first written.
I don't know whether one has to have
patience, or the ability to write the kind
of letter that succeeds in getting an an-
swer, but I certainly appreciate the fact
that I have been lucky to get a personal
reply from my favorite.
Helen Haxrahax.
174 Nagle Avenue, New York City.
Rapping Kathryn Snyder.
What I have in mind at present is the
letter of Kathryn Snyder in which she
expresses her hope that all foreign play-
ers fail in pictures. My, my, what a
loyal American! Vilma Banky can't act?
The very idea is ridiculous ! And such
beauty! None of the commonplace flap-
per type that one sees every day, gum-
chewing, whoopee-making, but an ex-
ample of pure, womanly beauty that would
have been an inspiration to artists had
she lived a century or two ago. They
would have made her immortal.
Camilla Horn "an odd-looking for-
eigner"? No personality? What does
Miss Snyder consider beauty? The mas-
cara-eyed, heavily rouged flapper?
As for Greta Garbo, thank Heaven she
is no empty-headed, doll- faced ingenue,
but an actress. Could any one have sur-
passed, or, for that matter, equalled her
performance in "A Woman of Affairs"?
And here's to Dolores del Rio ! She is
not faultlessly beautiful, but she has more
than beauty — a stamp of refinement, cul-
ture, breeding, besides acting ability.
Oh, I've almost forgotten Nils Asthcr,
who, in my opinion, has no equal. Not
only is he handsome and can act, but
conveys to every one that he is the perfect
gentleman so rarely found now, alas !
Should we shun foreign players? I dis-
like to think of having nothing to see but
pictures of the wild, jazz-mad and vulgar
modern girl of fiction. I do not like to
mention the players I have in mind ; I
leave that to the imagination. And still
I do not hope they fail. Let them go on
and succeed, if they give amusement and
enjoyment to some.
If we ban foreign players, shall we also
put a stop to opera, music by foreign
composers, literature by foreign authors,
poetry, painting, et cetera? Certainly, if
we are to be one hundred per cent Ameri-
can. Oh, I dread even to think # of it!
Horrors, if I should be able to hear only
jazz that reminds me of cannibalism, and
see modern dance steps that trace their
rigin to African jungles ! I can picture
not a few real Americans packing their
bags and baggage, off to Europe. For
What tke Fans Tkink
hasn't Europe basked in culture and
knowledge, while America was inhabited
by savages? Where would you be, Miss
Snyder, if a foreigner had not discovered
America?
Marii.ynw Urban - .
1043 North Damcn Avenue,
Chicago, Illinois.
To Arms For Gary!
So Gary Cooper is high-hat! So says
Fraser MfacDonald in August Picture
Play. Some people believe everything
they read. Where would every one be if
they believed what others told them? It
is always the same — as soon as an actor
or an actress gains a little popularity,
some one says something against them,
and the consequence is that every one be-
lieves it.
I, for one, do not believe it. Just be-
cause Gary is quiet and reserved does not
mean he is high-hat. We like stars for
what they are on the screen, not for what
they are in private life.
People who believe that he is high-hat
are not sincere in their views. Never be-
lieve anything until you have proof of it
yoursel f .
Gary has been my favorite ever since
he made "The Legion of the Condemned"
and I will always love him — even though
some say he is high-hat — until he proves to
me that he is.
Mary Venables.
504 Neville Street,
Pittsburgh, Pennsylvania.
Step Up, Mr. McKegg.
In a recent issue. Picture Play's most
brilliant writer contributed an article deal-
ing with the treatment interviewers re-
ceive at the hands of some of the players.
Previous to this he had written other
very interesting articles on unique sub-
jects. Subjects not commonly dealt with,
and for this reason, more interesting.
I am referring to "Youth Is Trium-
phant," "Carrying On," "Objects of
Wrath," and "Whom Fortune Would De-
stroy," all by that capable journalist, Wil-
liam H. McKegg. These articles proved
to be interesting variations from stereo-
typed interviews and trite publicity tales.
Let's hear from Mr. McKegg more often !
M. Logan.
Royalton, Minnesota.
Southern Generosity.
For quite a long while I have been col-
lecting photos of the stars, and at the pres-
ent time I have 1,611, many of which are
duplicates. Of course such a collection
is ungainly, ^ind I have very nearly 500
photos which I should like to give away
to fans desiring them, if they will mention
the actors in whom they are specially in-
terested and enclose postage.
Leonard E. Eury.
Box 85, Bessemer City, North Carolina.
That "Weary River" Double.
I would like to register my first objec-
tion to the otherwise splendid "talkies."
Why have movie stars, and even stage
stars, belittled themselves by allowing
some unknown double to speak, sing, or
entertain for them? Surely if their own
abilities are such that they are not capable
of carrying the role themselves, why have
them do it at all? For instance, "Weary
River !"
The fact that Richard Barthelmess al-
lowed a double to sing for him, and then
permitted advertising which boasted of
his "splendid singing voice," such things
as this entirely spoiled the picture for me.
103
Mr. Barthelmess was splendid in hi
lent pictures, and no doubt then- were
dozens of other roles waning, in which
he would not have been required to
And likewise there were probably ;
really good singers who could have played
that part to good effect Then why mi--
cast our favorites? Why s]K>il them for
the future? No doubt the whole world
would be indignant if it were discovered
that some famous singfr ware being
doubled ! Then don't le( it happen iii the
movies! "Show Boat" Was another splen-
did film, and 1 must say that Laura La
Plante was magnificent in it, but again I
object to the deceit fulness of the sound
portion of the film.
My collecting days arc over, alas and
alack, and as tar as I can find "lit, I am
not the only one. I feel sure thai
are going to have fewer and fewer fan
letters from now on. Imagine -ending
quarter after quarter and receiving no
reply! I have never done it, as my col-
lection has thrived on the old-fashioned
way of letters for photos.
No doubt the photos arc worth much
more than the requested quarter, but
every one I know has experienced trouble
in receiving photographs for the self-
same quarters. One could hardly call it
getting money under false pretenses, since
the stars do not ask us to send our money
for their pictures, but we do it out of
common courtesy, and what do _ we re-
ceive? Nothing! I think there is some-
thing wrong somewhere and it does not
lie with the star, but perhaps in the stu-
dio system there is error.
Pearl H. McLaughlin.
137 Wilson Street,
Hamilton, Ontario, Canada.
This and That.
Fans from all over have been criticizing
stars with such slurs as "I don't like the
way Greta Garbo does her hair." Or
"What made Nils Asther shave his mus-
tache?" I should think the fans would
praise the stars instead of making remarks
that probably the fans would not read if
they were not loyal to Picture Plav.
I would like to speak a good word for
Paul Muni. I don't believe there is a per-
son who saw him in "The Valiant" — un-
less they are terribly hard-hearted — whose
eyes were not filled to overflowing when
they came out of the theater. I, »for one,
bawled like a baby, especially when Mar-
guerite Churchill, who should be given a
great, big hand for her fine acting, re-
peats their childhood prayer, "Good night
— good night! parting is such sweet sor-
row " Heavens, when I think of it
my eyes fill ! For goodness' sake, fans,
don't miss it.
Also a word about those players who
have been "discovered" by actors and di-
rectors. For instance, James Ford. What
has become of him? Two years ago he
was "discovered'' by Corinnc Griffith, and
the magazines said that he was to be
given parts in large pictures, but it ended
in his not getting anything.
Billy Anderson.
Manchester, New Hampshire.
A Friend in Need.
"Holly" should have refrained from
sending a letter such as she did to any
magazine to be published. She mentions
that she read in a newspaper a letter, which
a former friend of Gary's sent, saying
that Gary high-hatted this friend ! I
think perhaps this is a good time to men-
tion the old and quite truthful saying, "If
Continued on page 112
lU-i
Continued from page 23
Miss Bow tremendously, but I've
never met her. Don't want to — I
might be disappointed. Well, I've
just finished paying for Clara and I
can tell you it was awful. Every
month for eighteen months I had to
make a payment and I couldn't go out
anywhere, because I mightn't have
enough money left to meet the pay-
ment and they'd take Clara away
from me. I paid the last installment
last month, and I can draw a breath
at last. All I need, now, is for some
one who doesn't carry insurance to
run into me. for the thing to fall to
pieces."
He has a small apartment high up
on a hill in a sparsely populated sec-
tion of town.
"It's the first time in my life I've
ever had a place to call my own — a
place where I can be absolutely by
myself when I want to. First, my
mother and father were always boss-
ing me. Then it was my sister and
her husband. Now it's always some
one at the studio. They do it be-
cause they like me, I guess — actors
and people like that whom I don't
concern. I suppose they want to see
me get ahead, but it's trying always
to have some one saying 'Don't do it
that way— it should be done like this.'
"My way can't be altogether
wrong, because it's put me at the
point where, in less than two years,
I'm playing featured roles. I have
to rely a little on my own judgment,
don't I ? Well, now when I leave the
studio in the afternoon, I can either
take a ride by myself, or else go home
Oh, DaVie, BehaVe!
up on top of the hill and either read,
or just sit and look out of the win-
dow."
He is about five feet eleven and
weighs around one hundred and forty
pounds. He has dark skin, dark,
curly, brown hair and what Sue Carol
declares are "quite the nicest eyes in
pictures — a violet blue."
Most of the people in the movies
try to impress you with their lone-
liness — the lack of understanding
they encounter in their relations with
the world, with their families and
with their friends. It has come to be
regarded as more or less a stock pose
out here.
If it is a pose with David Rollins,
he is a better actor than I credit him
with being. I don't know that he is
exactly lonely, but I don't believe
he has ever had a very close friend.
I've seen him playing volley ball
at the Thalian club's beach house,
shouting hilariously. The members
of this club are mostly youngsters
who are featured in pictures. Their
standing is pretty nearly equal and
any attempt at posing within the
family, so to speak, would promptly
let the poseur in for some kidding
that would take him the rest of his
life to live down.
The game over, David suddenly
disappears. If one took the trouble
to look for him, he would be found
about a mile up the beach sitting on
the sand, staring out over the waves,
or watching the breakers as they
rolled in.
We drove out to Maywood one
evening, looking for a picture called
"The Shakedown," in which James
Murray was playing. When we got
to the theater the picture wasn't be-
ing shown. David went in to ask if
they knew where it could be found.
A second later he was back in the car,
his face beet-red, gasping for breath.
"You go in and ask — they recognized
me!"
One moment he says or does some-
thing that gives you the impression
he is far older and more knowing
than his years give you a right to
expect ; the next he says something
that makes you wonder if Booth Tar-
kington knew him when he described
Willie Baxter in "Seventeen."
On another occasion, when we were
riding, I turned to him suddenly,
hoping to startle him out of his shell,
and asked, "Davie, does anything
ever get you wildly excited, or make
you very, very happy? Do you ever
get a thrill out of anything?"
Davie never batted an eyelash as
he answered, "Oh, yes ! I get quite a
kick out of a piece of angel cake, or
looking into the windows of jewelry
stores and wondering if I'll ever be
able to buy any of the things I see
there."
So we drove over to my apart-
ment and opened a bottle of ancho-
vies for excitement. Those finished,
Davie started Clara up, turned his
face toward the stars and pointed
the nose of his car toward the soli-
tary, little apartment that stands high
up on top of a lonely hill, and drove
off.
Continued from page 34
why he shouldn't, Powell went
eagerly. Followed engagements in
"When Knighthood Was in Flower,"
"Outcast," "Under the Red Robe,"
then to Italy for "Romola," and Cuba
for "The Bright Shawl."
By this time firmly established
with the public, Powell was signed by
Paramount, with which company he
has been ever since.
One of the few screen players to
whom the talkies have not come as
the millenium, he has been consid-
erably advanced by the advent of the
microphone. His performance in
"Interference," the first talkie to
show intelligence, added greatly to
the distinction of that picture.
Distinction is, indeed, essentially a
component of the Powell personality,
both on and off the screen. The elan
which characterizes Menjou in pic-
tures and is missing in real life, is
evident in the off-screen Powell.
Worldly, intelligent, charming, he is
what picture heroes are made of.
But because some trick of physiog-
Bill Powell— As He Is
nomy renders his appearance sinister,
he is catalogued as a villain.
Which is all right with him, as
long as it isn't the fairy-tale menace
in a Zane Grey thriller. Realizing
his facial limitations, he has no
thwarted yearn for heroic roles, but,
nevertheless, he does not enjoy doing
heavies whose sole function is to ac-
centuate the incredible virtues of the
hero and heroine. He finds satisfac-
tion in any role which deals with a
man who gives the impression of
having been born of man and woman,
rather than concocted by a scenario
writer and a tailor. He dislikes for-
mula, hokum, and melodramatics, but
doesn't allow his personal prejudice
to deny the fact that they are good
box-office ingredients.
He has deep appreciation of the
good things of life. The best in
paintings, in drama, in caviar, in mu-
sic, in automobiles. It is to be able
to indulge these tastes, that he is ac-
quiring money as rapidly as possible.
He has a deep horror of poverty.
Although he has never been destitute,
he is aware that the only free spirits
are those with money to unlock the
doors of the world.
His particular desire is to be foot-
loose ; to be able, if he feels so in-
clined, to pack a bag and catch the
next train, or boat, or airplane. Per-
petual travel is his idea of utter peace.
Even a week's vacation between pic-
tures is sufficient excuse to rush to
the Grand Canyon, or Seattle, or
Mexico. He admits to a sentimental
love for Italy in particular, and would
like to have a home there, making it
the converging point of his travels.
Ronald Colman and Richard Bar-
thelmess are his two closest friends.
His excursions to Hollywood restau-
rants and such are comparatively in-
frequent. He took up tennis a year
ago, and has since been an ardent
devotee, but not an expert.
He enjoys his profession and would
not want to follow any other, but is
subject to moments of depression
Continued on page 110
Advertising Section
105
Hollywood's Nine O'clock Girl
Continued from page 57
worked herself into a fine state of
the emotion required.
Experience has bred a facility
which renders this family participa-
tion in rehearsals unnecessary — prob-
ably a great relief in some quarters!
Still, there is her voice. The first
pupil to enroll for a course in modi-
lied elocution when the university
added the speakies to its curriculum,
she was the only one to attend regu-
larly two hours every day. Now,
she and her father read aloud each
evening.
"Shakespeare, at present." Some-
thing happened to me just then, and
I do believe that 1 swallowed an olive
pit. Not that T believe nobody reads
Shakespeare — hut when a blue-eyed,
baby-faced hlonde tells me, so com-
posedly, that such is her occupation,
I choke if T am eating.
For once, though, I hadn't allowed
for that gorgeously naive candor
which is Anita's greatest charm.
"Not," she laughed, "for entertain-
ment — I'd much prefer the maga-
zines, though certain scenes of Shake-
speare are very powerful, and T want
to act them all over the place — but
to train my voice. Daddy believes
that a natural voice is best, hut there
is much to learn in dramatic range
and vocal inflection to express every
little shade of thought. It is prac-
tically an art.
"We warl ile a little, so that I can
keep tuned up. I haven't much of a
voice. When T must sing in a pic-
ture, I just trail along. I will take
singing lessons, if my voice ever
gives promise of being any good."
For a time, he had run off for her
screen classics which she had missed,
his purpose being that she might
study the skilled actors' technique.
It developed, however, that she
merely was enjoying herself hugely 1
"I get the same thrill out of see-
ing pictures that I used to, before I
began acting. I wonder, when the
actors talk about a certain movie,
how they go about analyzing their
impressions that way, and T don't
see how it can be much fun, if they
are always watching how scenes arc
done, and everything. I guess I don't
know enough about technique yet."
Her shrug was deprecatory. "I
simply like something, or don't, and
I'm crazy about most all the players "
Jeanne Fagels symbolizes very
nearly the type of actress she hopes
to become.
"Won't it be wonderful if. some
day. I can play such things ? I know
ir sounds sill)- — presumptuous. But
there must have been a time when
Continued on page 113
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Continued from page 71
dresses possessing that particular
brand of chic had managed to evade
their discerning eyes, and the quest
was still on, full tilt.
As they drive from shop to shop,
let's take a look at Miss Kenyon, that
rarity among women who is able to
combine the duties of wife, mother,
householder, and actress, and do them
all gracefully, with tact, charm, and
good breeding.
She's a beautiful girl, fresh and
lovely. Her features are delicate and
refined, and her coloring is exquis-
itely blond, with blue eyes and pink
cheeks. She uses rouge, of course.
What woman worthy of the name in
this twentieth century, when nature
is so sparing with her tints, does not
enhance them with the carmines of
Paris?
She has clothes sense — never ex-
treme — but always in good taste,
preferably vivid blues and greens,
with conservative, graceful lines and
hats to match.
"She's a wonderful girl !" exclaims
Miss Allison, who has rare qualities
of loyalty and acumen. "And her
home is as lovely as she is. Every-
thing is beautifully run. It is per-
fect, and the regime is smooth as
silk."
"But I've a good housekeeper,"
adds Miss Kenyon.
"Yes," interpolates Miss Allison,
"if you didn't know how things
should be and were not an executive
and a judge of character, your house
would stand a good chance of being
chaotic. Yes, you're good, Doris,
we've got to admit.
"You are living a full, rich life,
and living it to the full, and you're
neglecting nothing. And I call that
not only rare, but marvelous."
Doris smiled. She has a brilliant
smile. It's young, enthusiastic and
full of glee. It comes and goes
swiftly, and it's very broad. It has
that youthful spontaneity of those un-
spoiled and unafraid.
She's impulsive and altogether
feminine.
She was quite frantic when she ar-
rived in New York with a sick hus-
band, and realizing that an indefinite
stay was before her, and that she
had left her baby in California, with
five days' journey between them, she
sent for the nurse and the baby and
put them in an apartment, while her
husband was recovering his health in
a sanitarium.
Satisfied that all was well within
her domestic sphere, she went on a
perfect orgy of shopping, but while
she ordered lavishly, she canceled her
orders promptly. Calm reflection
convinced her that her impulses had
led her amiss, and despite appoint-
ments and fittings she would call up
penitently and beg the mercy and un-
derstanding of the shopkeepers who
invariably capitulated to a maiden,
a pretty and a winsome maiden, in
distress.
"But," says she, "I couldn't stand
all this long. I could never relinquish
my work. I love my husband and
my child, and I do all I can for them,
but he has his own interests, and I
must have mine. I don't feel that I
am a great genius, a Duse or a Bern-
hardt, or that the world of art will
miss me if I fail to act. But I do
feel the need of self-expression. I
must have a definite interest in life ;
a definite use for my own time and
energy.
"I find the combination of a home
and a career difficult — terribly, ter-
ribly difficult — but I couldn't give
either of them up. I am pulled in
half a dozen directions ; my thoughts,
my time, my duties are divided, but
there isn't one I would deny. It may
be just habit of mind which prompts
me to go on with my work. It may
be egoism, if you prefer to call it so.
But I've always felt the need of hav-
ing some means to express myself.
Before I acted for the screen, I wrote
poetry. I do still sometimes — often,
I might say. As with most people,
financial necessity prompted me to
find a more lucrative form of activ-
ity.
"The furtherance of my career be-
came a habit of mind with me. All
my thoughts, energies, and activities
were directed toward the advance-
ment of that career.
"It is impossible suddenly to aban-
don these pursuits, and though I no
longer have that financial urge, or
necessity, I have learned to occupy
and to utilize every moment of my
time. I don't know how to live with-
out my work, which has become a
part of me.
"Since my marriage I have been
able to blend my home life and my
career, without making either suffer.
I think — in fact, I know — I could
not manage them both, if I had a
contract which called for the mak-
ing of one picture right after another.
"An interval is essential for relaxa-
tion and undivided attention to one's
home and its problems. I make only
a few pictures each year, so I feel
that I maintain a fair balance be-
tween work and home.
"My home is far more important
Continued on page 110
Aiakim [sing Section
107
She Couldn't Kid Herself
Continued from page 70
soliloquy, no elaboration. The sen-
tence conveyed that the Mackaill
manner, so composed, had been dis-
turbed, that there had been tearful
times, and that the one who never
fails had given comfort.
"Hollywood's worst hurt is broken
friendships. Jealousy causes that
'most unkindest cut.' I knew that
men's hearts weren't made of leather,
but I banked on friendships. After
a time you learn to wait, to take
people at face value, until circum-
stances prove them. Sentiment has
its edges chipped, but when you do
find something real you treasure it."
Knowing the brittleness of life, she
has schooled herself to anticipate each
challenge and to match it. to make a
game of it.
"You wear a front over heartaches,
a gay bravado. You shrug and dance
and pretend to be a "little crazy. Get
me? You delude yourself that you
cover your hurt with your mask.
That appeases your pride. Suffer-
ing makes you finer. Introspection
follows feeling ; then gradually the
normalcy of 'Well, that was that,
chuck it.'
"Hollywood has replaced bluff with
self-assurance, taught me the frailty
of artificialities and the value of
commonplace and permanent reali-
ties," she summed up, swiftly. "It
has taken much of my faith in people
and given me, instead, a profound
respect for work. More than any-
thing, it has taught me to be myself."
Good-natured when trivial errors
are made, she can be sharp and ada-
mant on matters of importance, man-
like in her bluntness and shrewdness,
and in the calm, quick way with
which she brushes aside those unes-
sentials upon which most women love
to dwell. The sort of girl whom a
man calls a pal.
No poet of to-day would type son-
nets to her beauty. Instead, an in-
habitant of that tinny thoroughfare
known as "Applesauce Alley" might
dedicate to her his latest "blues." the
utmost of his praise in tunefully
glorifying the modern girl.
Her friendliness on the set strikes
a happy medium between comrade-
ship and aloof hauteur. They call
her "Miss Mackaill" — no raucous
first-name greetings. She can kid
with the boys, without fear of fa-
miliarity.
She lives in one of the new apart-
ment hotels, modishly furnished and
snappily serviced. It is like her to
eliminate worry.
Gowned for a party, her slimness
wrapped in some gleaming stuff of
gold, hair in symmetrical marcels,
bead high, she is reminiscent of a
Gainsborough, though her aristoc-
racy is of personal development
rather than that of heritage.
It is in sport clothes, though,
swinging along, alert and gay, that
she is at her best. I associate people
with things. She makes me think of
a good, stiff breeze: of a Diaz silver-
birch forest: of that red honeysuckle
found only in certain forests ; of win-
tergreen.
Ordinarily she is well controlled,
with perfect presence. Occasionally
frazzled nerves that snap, or the solv-
ing of a problem, will send her out
to the highway, to drive all night at
racing speed, until dawn brushes its
calm hand over her. Quite com-
posed, she will appear at the studio
as though no worries had ever both-
ered her. Usually, though, her life is
serene. While all actors talk of early
hours and adherence to career's de-
mands, I know few so punctilious in
obedience to its rules.
The methodical Mackaill refutes
that wistful irony of Sara Teasdale.
"When I have ceased to break my wings
Against the faultiness of things,
And learned that compromises wait
Behind each hardly opened gate;
When I can look life in the eyes
Grown calm and very coldly wise,
Life will have given me the truth
And taken, in exchange, my youth.''
She has grown rather coldly wise,
yet glories in her youth. I think she
is well aware of the faultiness of
things, and asks little more of life,
now, than that it occupy and enter-
tain her.
MY MAN
My sweetie's not a handsome guv
Novarro has the edge on him.
He hasn't hair like Richard Dix.
Nor teeth like that D'Arcy "bim."
He doesn't love like Rod La Roque,
Nor kiss like he was Gilbert's twin.
He don't do things like all these boys —
But, gosh, he bites like Rin-Tin-Tin !
Barbara Barry.
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108
Advertising Section
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79-89 SEVENTH AVE..
NEW YORK CITY
corrects it instantly. At the end of
her lesson she knows where she is.
And so does Morando.
There is more than just study and
application in bringing results in
Bebe's case. She never knew a half
note from a whole one until recently.
But she has musical sense. It is a
rare attribute. It will become rarer
if she develops it. I feel sure she
will.
She is also studying piano with
Fanchon Armitage. who commends
Bebe particularly for her determi-
nation, and also remarks on her un-
usual cleverness and facility in fin-
gering.
It's just no telling what Bebe will
do. Signor Morando says she will
one day sing "Carmen," if she sets
her mind to it. She has the mezzo
voice for the role, she knows how to
act, she is of Spanish descent, and
she is intelligent, so why not ? Heaven
knows — and so do audiences — that
the old operatic stage sorely needs
a new Carmen. And not a fat one.
Signor Morando and his wife have
one of the busiest studios in Los An-
geles. Morando is as interesting as
his pupils. One of the first things
he says to a prospective student is,
"I am not teaching for Vitaphone,
Photophone, Movietone, or any other
kind of phone. If you want to study
with me, be prepared to work. Every
pupil is the same — rich, poor, fa-
mous, unknown. Come here to work.
Be on time. If you can't do both,
stay away. I don't want you."
Every now and then he becomes
very temperamental when some one
talks about Vitaphone, or one of the
other sound-reproducing systems, and
he nearly commits mayhem on the
innocent maker of conversation. He
will fairly shout, "Don't mention
those — those — whatever they are — to
me. There is one man who said the
truth about them. All the noise that
has been squeezed out of iceless re-
frigerators has been put into talking-
film machines."
Some of his pupils from the film
colony are Jane Winton, the posses-
sor of a charmingly fresh and buoy-
ant voice, which is as bubbling as
herself ; Marion Davies, Jack Mul-
hall, Lois Moran, Blanche Sweet, and
Walter Pidgeon. John Roche has
been one of his pupils, as well as
Carlotta King and Norma Talmadge
who, Signor Morando says, has a
beautiful voice. She has not been
studying lately, however.
Another studio that fairly hums
with activity, not to mention thou-
sands of ahs and ees and oos, is that
of Lillian Sloane, wife of Paul
Sloane, the director. And North
Detroit Street, where her studio is
situated, has become overnight the
parking place for more Rolls-Royces
than it has known in its entire ex-
istence.
Mrs. Sloane possesses a very gay
and enthusiastic personality, which is
a big asset and magnet for any pu-
pil, and particularly for those from
the film colony. She has the added
advantage of having been married
for thirteen years to a director, and
therefore understands the demands
and limitations of the screen, and
knows all the latest wrinkles of the
mechanical devices for registering
sound.
Bessie Love has been working with
her for two years, and one day when
the gang were there — that is, Bes-
sie, Leatrice Joy, Carmel Myers, and
Gwen Lee — Bessie sang for me
Gounod's "Sing, Smile, Slumber"
and sang it well, too.
Leatrice had her lesson in my
presence and ably demonstrated what
a magnificent muscle the diaphragm
is, and also illustrated how disastrous
a tight jaw may be in interfering
with the flow of tone.
It is recognized that Mrs. Sloane
helped Leatrice stage a comeback
from her long period of idleness by
helping to launch her in vaudeville.
The vaudeville contract reinstated
Leatrice into talking films, with no
little success.
Mrs. Sloane helped Leatrice build
up her act, advised her about her
speaking voice, and permitted her to
sing only a few phrases of song.
It was discreet assistance.
Billie Dove is another Sloane pu-
pil. So is Mae Murray, said to pos-
sess a "gorgeous soprano." Others
studying from the film colony are
Adele Rowland, otherwise Mrs. Con-
way Tearle, Jacqueline Logan, Sally
O'Neil, who could be a contralto if
she stood still long enough, Alice
Day, Frances Lee, Mary Astor, Mrs.
Paul Muni, wife of the actor, and
Mrs. John Francis Dillon, wife of
the director. Lilyan Tashman is also
a prospective pupil.
Clifford Lott, long identified with
the musical life of Los Angeles, and
recognized as one of its best musi-
cians and singers and teachers, is
guiding the vocal destiny of Colleen
Moore. Colleen has been studying
diligently for over a year, not with
the idea of becoming a prima donna,
but to develop her voice, through
singing, for talking purposes. Mr.
Lott speaks highly of Colleen's keen
perception and her quick, steady ap-
plication. He also speaks enthusi-
astically of Georgia Hale's voice, and
describes it as "lovely." Joel Mc-
Crea, who has been playing small
roles in pictures, has most promising
possibilities as a singer, according to
Mr. Lott. He is a baritone.
Julia Faye, like Bessie Love, is a
coloratura soprano. There aren't
many among the film players. Miss
Faye is another serious, earnest stu-
dent who has progressed to the stage
of singing "One Fine Day" from
"Madame Butterfly," not as a fin-
ished show piece, but as part of her
lesson. Her instructor is Airs. Henry
Major, wife of the caricaturist. Mrs.
Major has spent most of her life
abroad, having been a singer in opera
and concert. But teaching is her
great love.
Norma Shearer is also a Major
pupil, but her love for music, her
enthusiasm over developing her voice
for speaking or singing purposes, can
hardly be compared with that of
Julia Faye, or the hundreds of other
stars and players who are pursuing
learning:.
Advertising bE< i [< »N
Gary Cooper is singing robust
tones and arpeggios for Madame
Gloria Mavne, also prominent in the
musical circles of Los Angeles as a
teacher and singer. Clara Bow has
been devoting time to elocution les-
sons. Mary Duncan has been work-
ing, when time permitted, with Miss
Swanson's teacher. June Collyer and
Kick Stuart have been studying voice,
as has James 1 [all.
Monte Blue, Carlotta King. John
Boles, Laura and Violet La 1'lante,
Kathryn Crawford, Barbara Kent,
Marian Nixon, and Marian Douglas
all do their warbling at the studio of
Harold Kellogg, who recently came
to Hollywood from New York and
abroad. Kellogg was a pupil of
Jean de Rezke. Carlotta King, of
course, has been studying the greater
part of her life, and is with Mr. Kel-
logg for special work and repertoire.
Mr. Boles is a product of the Kel-
logg method of teaching, having stud-
ied with him in Paris and New York.
Hollywood is changing ; it is pro-
gressing. And in its present transi-
tory stage, the song, and plenty of it,
is the thin" !
iuy
Back Home — and Happ>?
Continued from page 32
Contentment fairly radiated from
him.
"I feel as though I'd come back
home. I guess I belong here, with
the horses and the circus folks."
People called to him from near-by
tents ; some one strolled into his tent
and helped himself to cigarettes,
without a "Please" or "Thank you."
"I've been a little lonely the last
few days," he went on. "Had Thom-
asina with me for a while, but her
mother took her back to Hollywood.
Tommy inherited my love for the
circus, all right, but my wife didn't
like the life much. Why, Tommy
knew every one in the show the day
she joined us. Every one was teach-
ing her their tricks. I went into the
tent one day between shows to see
if she was swimming with the seals,
or swinging with the acrobats, and
there she was on her knees on a
prancing horse. 'To-morrow I'm go-
ing to stand up,' she called to me.
She's still real, Tommy is. Living
in a big house with a lot of serv-
ants, and going oft to France to
school hasn't spoiled her a bit. I'm
just a cowboy and don't pretend to
be anything else, and Tommy's just
like me.
"I was with this outfit twenty
years ago," he went on. "Got twenty
dollars a week and thought I was do-
ing fine. One day they fined me five
dollars for watching the performers
when I should have been out helping
to load a wagon, so I left. Couldn't
see how any one but a judge could
fine me."
His horse had been led up to the
tent and the calliope was puffing the
last of the introductory march, when
he started to go. "Come on down to
the train afterward," he called out.
Tom is mighty proud of the pri-
vate car the circus got for him. One
big room, with a table and lots of
armchairs, with Navajo rugs here
and there to make it homy; a smaller
room, with a wide bunk and innu-
merable pictures of Tommy and Mrs.
Mix; a jade-green bathroom, with
cupboards all around. So delighted
is he with it, that one almost forgets
that he has long had a mansion in
Beverly Hills, a yacht, and a house
at Catalina.
"I'm going to be with the circus
for quite a spell," he told me in an-
swer to the inevitable question about
his coming back to Hollywood to
make talking pictures. "Maybe as
long as they want me. Everything
is so real here it makes Hollywood
look sort of like papier-mache."
The train gave a warning jolt and
I left. But not without a last con-
gratulatory glance at a man who has
gone back to the scene of his youth
and found happiness.
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than any work I could possibly do, or
any heights I might possibly attain.
And should I ever find that my work
is interfering with my home, it will,
of course, be the work that must go.
"There is work awaiting me now
in Hollywood. I shall not accept it,
because I know my place is with my
husband when he is ill.
"But barring illness, and under or-
dinary circumstances, I can see no
reason why any woman should aban-
don her work. My home is run
comfortably. I see my child develop-
ing as I wish, and my husband is
happy.
"Sometimes our work keeps us act-
ing in the same picture. That is
great fun, even if it does happen to
be bad business.
"A woman's work outside her
home keeps her on the qui vive,
makes her keep her wits about her,
keeps her brain active and alert. And
naturally she is more interesting to
a man — her man — than if she be-
comes kitchen-minded. Work, I be-
lieve, is the greatest factor in happi-
ness at home — work which you love,
which satisfies and develops you.
"If, however, my acting ever
threatens to mar the happiness of my
home, I shall give it up unhesita-
tingly. It may be a wrench, but I
will do something else. I can write
poetry, and I will develop my gifts
as a writer in such a way that they
will not make discord out of that
domestic harmony which, after all,
is the root of everything. But I will
never, never be idle. Years of work
have made me unfit for it. And
so "
But here the limousine drew up,
with a sudden halt. And Doris,
bubbling with enthusiastic anticipa-
tion, hopped out exclaiming :
"Oh, May, here's Estelle Taylor's
favorite shop ! She says the dresses
are simply divine !" And she was
lost in the ecstasy of contemplating
the new modes.
Calm As tke Nigkt
Continued from page 46
Marguerite is now prepared to be-
come "crazy" over California. She
took me into the garden and turned
a handle, whereupon water trickled
down through a grotto into a pool, in
which there were goldfish. A baby
goldfish had been hatched the day be-
fore my visit, half an inch long,
according to the length indicated by
Marguerite's tapering fingers, when
recounting the offspring's appear-
ance.
"This is what I enjoy," she said,
standing under an archway of vines.
"In New York there is nothing but
buildings and not a garden in sight."
The rush of the studio is hectic,
but not disturbing to her. At eight
o'clock Marguerite is ready for work,
and she does not return home until
seven. She then puts in an hour of
fencing — for she must fence in
"They Had to See Paris."
This girl is still so young that she
has had little time to gain more than
perfection in music, refinement,
poise, intelligence and pleasing nat-
uralness. So natural is la Churchill
that she makes all the others with
theatrical trimmings look more than
ridiculous.
I feel certain that it is this natural-
ness that will attract attention to her
— in fact, it has, for the fans have
already discovered her, and fan
photos have had to be ordered. A
sure sign that Marguerite Churchill
is here to stay !
Bill Powell— As He Is
Continued from page 104
when making up, thinking to himself,
"What a damn-fool thing for a man
to be doing for a living— making
himself pretty." He is deeply thank-
ful that, with new processes, it is not
necessary for actors to use make-up.
He was once branded by an inter-
viewer as "the wittiest man in Hol-
lywood." It was an unkind compli-
ment, life ever since having been
miserable for him. "Come on," his
friends challenge, "do something
funny, say something cute." He is,
despite that, the possessor of a fluent
and charming wit.
He lives with his mother and
father in Hollywood. He prefers
caviar to chicken livers, Florence to
any other city in the world, Scotch
to Bourbon, and champagne to either,
the stage to the screen for entertain-
ment, detests fittings for clothes, and
likes good taste and dignity in all
things. And, although it is none of
your business, he has been married,
but is separated from his wife.
Am ertising Section
111
He's a Soft-Boiled Egg
Continued from page l M
Victor was broke, and he ran into
one of those small-town carnivals
which offered twenty-five dollars to
any man who could stand up for
three rounds in a boxing bout with
the carnival strong man. Victor
knocked him out, got the twenty-five
dollars and a job.
Later the two of them got up an
act together, Victor taking on all-
comers in boxing, the other — Hugh
MacDonald — standing with arms
akimbo and offering twenty-five dol-
lars to any one whose two horses, at-
tached one to each arm, could pull his
arms apart. They were pals, Hugh
and Victor, and then one day they
were invited to go through a brewery.
Neither of them was accustomed to
drinking, so a few glasses of beer
were a few too many. They decided
to hold a contest as to which had the
bigger chest measure and each ac-
cused the other of cheating in the
measurements. So they broke up in
a silly quarrel. That was twenty
years ago.
"And when I came to New York,"
said Victor, telling me the story,
"who should walk into my hotel room
t( see me but Hugh MacDonald ! V e
hadn't spoken for twenty years. How
we laughed over that old quarrel !"
.Again that glow of tenderness came
over him, in speaking of Hugh Mac-
Donald. You could see that here
was a man to whom a friend was a
friend, a family something to live
for.
In fact, his family was his reason
for not crossing the continent by the
new air-rail route. "I'd have liked
very much to travel that way," said
Victor, "but I felt I'd no right to
take such a chance. Xot when there's
the possibility of an accident leaving
two children without a father."
Yes, this hard-boiled egg of the
movies is a
home !
He Dug His Way In
Continued from page 48
ranch with a well-stocked stable, and
a bunch of calves which he keeps, one
gathers, for roping purposes.
"I get sort of homesick for Texas
and ranch life," he admitted, with
just a bit of embarrassment — like a
small boy caught in some sentimen-
tality. "It isn't that I like it better
than Hollywood," he added with swift
loyalty, "and I suppose that I wouldn't
go back there to stay if I could. It's
just that once you have known that
sort of life, you can never quite get
away from it. The space, the silence,
the cleanness of it. You miss the
animals and the companionship that
grows up between men and the beasts
they take care of.
"I like to ride. But I want to be
going somewhere. It wouldn't be
any fun for me to "o out and canter
A TALKIE HERO
Tell us not in mournful croakings
How you woo Melinda fair,
For your voice is like a buzz-saw.
Though you look so handsome there!
Boy, you've surely missed your calling
As along through life you jog ;
You should help a fog-bound vessel —
You could imitate a frog.
Lee James Burt.
"three-minute egg" at
up and down a bridle path, all dressed
up ! I want to sleep out there and
get up in the morning and feed my
horse and rub him down, and then
saddle him and start out.
"I'm teaching Charlie to ride a
Western saddle and rope a calf," he
broke off, adding proudly, "You
ought to see how quickly he's picking
it up!"
Charlie accepted this tribute with
becoming modesty, and presently we
parted, the two hurrying off. arm in
arm like two schoolboys on a holiday.
I like Big Boy. I like his sim-
plicity and his grin and the gusto he
has for life. And when he gets a
part which suits him, I think he is a
fine actor.
■That's a lot to be said in any man's
favor !
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112
Continued from page 55
"Every picture I have made," he
went on, "has been the first talkie
attempted by its director. It has
been the most interesting experi-
ence I have ever had, watching
to see what each one has learned
from the others, and how each
picture improves as the makers ex-
periment. Each one has been striv-
ing for something a little different
from what other directors have done.
"Bob Milton, with his stage experi-
ence, was trying, in 'The Dummy,' to
smooth out the dialogue to make it
clear and natural and intelligible.
"Dorothy Arzner, working with
'The Wild Party,' remarked that the
dialogue in talking pictures had de-
layed the action and slowed the
tempo. She .was working for swift-
ness of movement.
"Frank Tuttle, directing 'The Stu-
dio Murder Mystery,' strove for
smoothness — to remove that jerki-
ness which had characterized all
talkies up to that time. With beau-
tiful results, too!
"Each of these directors has added
something to the whole of this tre-
mendous experiment which is being
carried on in the picture industry. A
fascinating process to watch !
"Watching all this, I know at last
what it is I really want to do. I
want to direct. That is the next
step. I began to act, because it was
the thing I had to do. But, after all,
you know, acting is a funny sort of
job for a man ! Make-up — and all
that."
There spoke Freddie's early Mid-
dle-Western environment. For he
sprang from people who had not an
actor in their family history. The
friends of his youth were of the
Freddie For Keeps
same type. And at the University
of Wisconsin, while he was presi-
dent of his class twice in succession,
while he was managing the football
team, while he was winning a schol-
arship which would send him to New
York to study banking in one of the
biggest financial organizations in the
country, he was hiding from his fra-
ternity brothers, and perhaps really
from himself, this inexplicable urge
to go on the stage. One didn't do it
in his circle unless one was rather —
odd. One sold bonds, or went into
business with one's father, or stud-
ied law. Something solid.
Finally, after he had gone to New
York and studied banking for a year
or two, he developed appendicitis. In
the hospital, convalescing, he consid-
ered his future.
"I am not doing what I want to
do," he confessed to himself. "I
don't want to be a .banker. I want
to do something in the theater. I'm
going to take a crack at it before it's
too late."
So he did. His first role was that
of an old man who, appropriately
enough, rang up the curtain in Be-
lasco's "Deburau." After that Fred-
ric March was an actor.
He acted on Broadway. Then he
wisely seized an opportunity to play
in stock in Denver. A grinding ex-
perience, stock, but invaluable to a
young player.
And he married Florence Eldridge,
an actress of no small ability herself.
She too is working in pictures at
present.
"The first character you ever play
makes a permanent mark upon you,"
he told me. "That old man who
rang up the curtain — I studied him
and worked over his make-up and
practiced his walk. Thought about
him, until I knew all there was to
know of him. His history, the things
in his life that had influenced him,
his passions, his disappointments, his
loves. I have never forgotten him,
although his was an unimportant part
in the play. And I still prefer to
olay old men above any other type of
role."
You have to love your job to study
it like that!
That thoroughness. I believe, is
one of the most important contribu-
tions that stage people are going to
make to pictures. The nature of
their medium induces an exhaustive
study of the character to be por-
trayed. They work for weeks be-
fore the play opens, and they arc
going to live with their characters, be
those people, every day during the
run of the play. It may be for years.
It is a very different process from
that of silent pictures, in which a
scene is perfected, shot and done with
within one day, the picture finished
in a few weeks, and the actor goes
on to a new portrayal.
In talking pictures, where the ac-
tor must learn lines and make his
character speak, that thoroughness
and painstaking study of the stage
actor is going to show in his work.
Fredric March has the advantage
of that training. He has talent, per-
sonality, earnestness, intelligence, and
a terrific love of all things pertain-
ing to showmanship.
Yes, on second thought I reiterate,
a bit more loudly, my timorous
prophecy that Fredric March is one
stage actor who will go over in talk-
ing pictures !
Continued from page 103
you can't say something good about a
person, don't say anything."
I do not believe everything I see and
hear, and especially if it is printed in a
newspaper. If "Holly" had actually known
this supposed friend of Gary's, and knew
that his story was true, she should not
have felt it a duty to write that letter on
hearsay. Another thing, Holly, ihave you
ever walked along the street, deep in
thought about something important to you,
and had a friend call up and say that you
didn't speak when you passed that day?
Well, I have, and I think almost every-
body has had this experience. So why
not give Gary the benefit of the doubt,
especially when you. must realize 'that _ he
has much more on his mind — more im-
portant than anything we fans have. An-
other thing to think about is, that it
might have been a person who just knew
the actor by sight, and who wished to
"get in" with him now that he is a star.
Fraser MacDonald is next. I should
think that you would be ashamed of
yourself to take to heart what "Holly"
said about Gary Cooper. How do you
know it's true? Are you a real fan to
What the Fans Think
refuse to go to see a favorite's pictures
just because you heard something detri-
mental to him? Is that the correct thing
to do, without giving the suspected person
a chance to explain? You hear one side
of the story and consider that sufficient —
the suspected person is guilty!
And what if it should be true? Are
you going to stop seeing him on the
screen, when you confess that you "love
him so much and he has given you many
enjoyable hours"? Gary Cooper is a won-
derful actor, too wonderful to be ban-
ished from the screen. And another thing,
who are we to dictate to the people who
give us their .talent, and beauty to make
us happy, what they should do in private?
I think it is our duty to refrain from
criticizing them, and allow them to live
their lives as they wish.
Renoda Gwynne Brown.
196 Alartine Avenue,
White Plains, New York.
Irene and Dolores In Person!
Perhaps it is true that Mary Brian is
frail looking off the screen. To be frank,
I don't think she is pretty. She doesn't
wear clothes well, and she can't act. Why
they give her leads in so many pictures
I'll never know.
I had the thrill of my life when I saw
Irene Rich in person at Keith's Theater.
She is absolutely the most charming
woman I have seen in a long time. She is
lots prettier in person than on the screen.
Her voice is that of a girl instead of a
woman.
I also had the pleasure of seeing Do-
lores del Rio in person. In fact, I was
so close to her I could easily have touched
her. She appeared at the Stanley Theater,
with "Evan: eline." She is also prettier
in person than on the screen.
The movies haven't yet perfected pic-
tures to the extent of photographing the
beautiful complexion of the stars. Gee!
Del Rio is exquisite ! If you ever have the
chance to see her, grab it. She is far su-
perior to that Mexican wild cat, Lupc
Velez. Where was Gary Cooper's head
when he fell in love with her?
Arline Lenslev.
Baltimore, Maryland.
Continued on page 116
Advertising Section
113
Hollywood's Nine O'clock Girl
Continued from page ]05
she hadn't had experience, and didn't
know so much. If I work hard, do
you think 1 might develop into almost
as great an actress?"
There is considerable distance be-
tween the immature Anita and the
skilled sophisticate, Miss Eagels. Yet
who can prove that Miss Eagels never
was eighteen, never a bubbling bun-
dle of dreams, never a bit crude,
her talent never at that raw stage, be-
fore cutting and polishing endowed
the gem with brilliance? Obviously,
Miss Eagels at some time must have
been all these things which Anita is
now. Perhaps she was not quite as
pretty, or had not such an auspicious
debut and such splendid opportuni-
ties ; mayhap she displayed even less
embryonic ability.
Reassured that there was no law
to prevent her becoming almost as
line an actress — it is the policy of
her confreres, in a genuine affection
rather unusual, to belittle her talent
slightly, to keep vanity away — she
continued, "But I want to become
nice in the last reel. Wicked women
are so much more interesting and
dramatic, aren't they?" Concurrence
was given, chucklingly. You agree
with all Anita's enthusiasms, because
she is eighteen and vivacious and art-
less, and you know that you never
again will be.
"You have to turn nice, for the
public must like you. The fans want
to imagine themselves as you ; I'm
that way, when I see pictures. 'Re-
forming' gives you all the more dra-
matic opportunity. Ingenues never
do anything really important."
In the management of Anita, a
sane balance is shown. While prac-
tically everything right now, I sur-
mise, is being put back into the busi-
ness — which is Anita — the possibility
that the venture may not succeed
is often mentioned in her presence.
They would keep her free from that
first, false conceit, glamour's twin,
which wrecks many frail star-ships
so soon after their launching. Things
do revolve about Anita, but she knows
that her career is on probation. If
she fails, she must go back East,
where Papa Pomares will resume his
business connections, and forget that
she ever saw a studio.
With all things in Anita's favor,
those concerned agree that her growth
must be steady and logical. If un-
der their guidance she achieves in the
hectic atmosphere of Hollywood the
normal development of an ability in
any other business and community, it
will be an unusual and praiseworthy
accomplishment.
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114
Advertising Section
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Read Air Trails
Stories of Aviation
To Him Wko Waits
Continued from page 67
Birmingham, Alabama, being the
place where he was born twenty-six
years ago. He received most of his
education in Baltimore, then went
to St. John's College, Annapolis.
But you know how it is — young
people will go on the stage after
gaining congratulations in college
theatricals. Such happened to Mr.
Page. After graduation, he went to
New York and was successful in ob-
taining a small role in the 1923 ver-
sion of the Music Box Revue. So
good was he that his part was in-
creased before the run ended.
Thus stood Paul Page's career
when he started rushing after chances
to break into the films. In the midst
of all his go-getting excitement, his
friend, James Hall, returned to New
York to make "Love's Greatest Mis-
take." Jimmie's yearning for film
fame had been somewhat similar to
Paul's experience at that time.
"Jimmie and I had been friends
a long time," the latter remarked
without any rush or gush. "He said
to me 'Come out to Hollywood, Paul.
I know you can get a break there.'
Being still crazy for film work, I
went to California with him."
Jimmie gave advice. I pity any
person following it, for Jimmie's
well-meant ideas are likely to fluctu-
ate at any moment. Nevertheless, on
this occasion his counsel held a grain
of truth.
"Don't let them see that you are
overeager to get into pictures," Mr.
Hall told Mr. Page. "Let them imag-
ine you don't give a darn to act on
the screen."
Mr. Page refused to adopt Mr.
Hall's rather frightening method. He
insisted that the overambitious chap
always got the breaks.
"I did more running about and
saw more people and took more tests,
than any actor in existence. There
was a test at the Fox studio. I was
taken onto a stage where Olive Bor-
den was working. After the scene
was finished, I was rushed before the
camera and told to act the brief se-
quence I had just seen. In all that
commotion around me, the result
wasn't so good.
"My next port of call was at Sam-
uel Goldwyn's studio. Another test
was to be taken. Unfortunately, I
was stupid enough to mention the one
taken at Fox's. The casting director
insisted on seeing it. That finished
me with him. Metro-Goldwyn was
the next in turn.
"Tests seemed to haunt me. Crash-
ing the studio gates,, and worrying
myself sick over seeing executives,
finally made me feel fed up with
Hollywood. I couldn't stay here any
longer, for I was missing stage offers
by doing so.
"There's something lacking in me
that is needed for success on the
screen," I told myself. "I fall down
somewhere. New York and Broad-
way was my only favorable outlook;
so I said good-by to Hollywood and
pictures, and returned East to spend
the rest of my working days, I
thought, on the stage."
Mr. Page changed his former mode
of go-getter action ; he no longer
rushed hither and yon after picture
roles. He resolved to live a calm,
quiet life, seemingly devoid of all am-
bition for screen fame. And so, for
the moment, we leave him.
Back in Hollywood, Winfield Shee-
han, vice president of Fox, sent Ben-
jamin Stoloff, a young Movietone di-
rector, to New York to shoot atmos-
pheric scenes for "Speakeasy." The
gentleman was likewise asked to find
a suitable hero for the picture.
Mr. Page was appearing in vaude-
ville at the time. Quite casually he
met Mr. Stoloff. It was natural that
acting should he spoken of. The
stage, then the screen.
"Why don't you apply for this
Movietone part?" the director asked.
Mr. Page laughed. A test? Ancient
things of long ago. Gone from his
young life altogether. In short, he
couldn't be bothered.
"I'd probably be no good on the
screen," he even suggested. Possibly
no other actor had ever spoken like
this to a director. Its originality was
arresting. An argument ensued,
though friendly withal. A couple of
days later Paul received a pressing
request to call and have a test taken
for "Speakeasy." In order not to
seem indifferent to his friend's in-
terest, he went.
"The microphone didn't scare me
at all. The only thing I was afraid
of at first was the camera — but no
longer. Having just finished my sec-
ond picture — a silent one — I feel like
a veteran !"
His role in "Speakeasy" has
brought him no little success. "Pro-
tection," his second film effort, is a
newspaper story.
Gone forever are the go-getter as-
pirations belonging to his early days !
Everything is taken as it comes.
In any case, all we need notice right
now is the fact that Paul has proved
Mr. Schulberg's maxim to be in some
way correct. For Mr. Page is proof
that if you are good, Hollywood will
find you !
Advertising Section
115
Irene Is Made Over
Continued from page 43
"I was typed into stupid, rocking-
chair women who waited, or Vic-
torian fichu ladies who made a doijnia
of dignity, as they strolled through
formal gardens and oak-paneled
manses. I was simply," she said,
with keen relish, "too darned lady-
like!
"Once you are catalogued, you
must stay put, so they paid no atten-
tion to my requests for more inter-
esting roles. Only Lubitsch thought
I could look and act sophisticated.
I got so tired of it all that I became
sick with discontent. You can re-
main with one company too long, re-
gardless of its fairness to you finan-
cially; you can accustom yourself too
much to one mode of thought and
viewpoint. A one-track hrain is a
handicap, personally and profession-
ally.
"I felt so blank and drab, with the
futility of repetition ; and that sense
of monotony was reflected on the
screen and helped to add age. Many
of my pictures had a workmanlike
air, as though done to a metronome.
I almost went into eclipse."
"Craig's Wife" and "Ned Mc-
Cobb's Daughter" gave her powerful
roles. Otherwise there was seldom
a false note in her expertly correct
ladies — and seldom an interesting
note, either.
"Besides, my motherhood was over-
publicized. My pride in my girls
caused me to prate too much of com-
bining motherhood with a career, of
woman's domestic place. This con-
stant reiteration, coupled with talk
of my professional duties and my
sedate roles, all combined to fix in the
public mind an impression of me
fussing over a large lot of responsi-
bilities.
"Seeing others achieve success in
the theater was a sting to my pride.
I had had spunk enough to make our
living in the movies — why couldn't
I, too, try the stage? So I forced
myself into it. I cannot be grateful
enough for all that engagement did
for me in correcting false impres-
sions, and in teaching me so much
of value for the talkies."
Canceling her tour when Fox wired
for her to join Will Rogers, in "They
Had To See Paris," she plunged into
work the very day of her arrival,
reporting at the studio for scenes
even before going home.
"The role delighted me. Old-fash-
ioned, ordinary home folks. Rather
narrow and fussy, but extremely hu-
man, with a whimsical pathos. It
gave me a fine opportunity to charac-
terize vocally. At first, before oil
was discovered. T played her Okla-
homa — a whining drawl, a sctness.
With money and Paris, I could not
only dress her in exaggerated mag-
nificence, but also express her new
affectations of speech. It was great
fun."
She is inclined to alternate: a
couple of talkies and a road tour, then
a Broadway play after another sea-
son in the elocutionary movie. Her
personality, with its more assured
vivacity, would ornament distinctly
any comedy-drama.
With quite a household to manage,
since her marriage to David Blanken-
horn, a wealthy business man, she
makes far less to-do about it all than
she used to over a new frock for
Frances, or taking Jane to the den-
tist. Her girls and her two stepsons
get along well. Using tact in han-
dling the boys, she never disciplines
or orders them ; in turn, they defer
to her wishes and idolize her. The
result is a harmonious home, with
sentiment and gay laughter.
Her associations are mostly non-
professional, of her husband's circle.
Due to his own strong character and
to her exquisite tact, she did not at-
tempt to force him into her picture
environment, but adapted herself to
his. Society women, the wives of
prominent lawyers and bankers, join
her in social hours. It is a tranquil
life, yet busy and interesting. Mo-
toring to their Santa Barbara home
for the week-end : watching the girls
in a chukker of polo. Swimming ;
de luxe picnics at the beach ; teas at
old, ivy-clad Pasadena homes : shop-
ping excursions ; luncheons at the
ritzy places.
She knows, as maturity alone can,
the acids and balms of life, knows
hurts and solaces, and the way it all
evens up into contentment, beyond
the ken of youngsters with their petty
problems and victories, to whom a
dream-burst is exaggerated tragedy.
Heartaches and hopes have gone into
all these well-seamed years. Rich
years, indeed, for Irene. Full, busy,
rushing years, scheduled with many
activities.
Eyes twinkling with swift amuse-
ment at some quip, she asks why she
should not enjoy many more years of
work and accomplishment. Why, in-
deed? By all the new rules, whereby
the cinema demands character, intel-
ligence, and ability, above youth's in-
experienced loveliness, roles in the
articulate and sophisticated movie
await her, and these she will fuse
with this energetic charm which she
has recaptured.
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116
Continued from page 85
To a certain degree this is un-
doubtedly what will happen. Al-
ready here and there, promising girls
are being singled out of dancing
groups for more important work.
Time will tell whether the film en-
semble is the incubator of stars.
One thing seems sure, however —
the film chorus will never be the easy
road into the movies that the bath-
ing squad used to be. In the hal-
cyon days, a director might take a
fancy to the lunch-counter girl, and
next day she would be in a bathing
suit and facing the camera, actually
in the movies with no experience
whatever, and serving the purposes
of decoration very nicely. And, if
she should happen to make a few-
false moves, that was only a matter
of retaking a scene or two. a trifling
item in pre-Yitaphone days.
But the talkie director who would
take a totally inexperienced girl, and
thrust her in the chorus, would be
plain crazy.
That is the reason why film chorus
girls must be thoroughly experienced.
They have studied dancing and sing-
ing, and many of them have been on
the stage for several years. Like the
old-time bathing girls, however, they
are unknown to fame, and many of
them are appearing in pictures for
Tke CKorine Comes to Stay
the first time. It spells opportunity
to them, but an opportunity so hedged
in with "if s" that few can hope to
triumph.
Never before in pictures, on the
stage, or anywhere, have such for-
midable qualifications for success ex-
isted. A girl must photograph well,
and many do not ; her voice must
record in a charming way, and very
few do ; she must have a good figure,
must be able to dance, and must have
acting ability. The girl who can
measure up to all these qualifications
will be indeed rare, and assured of a
' warm welcome. Many will be called,
but few chosen.
Some companies, despairing of
ever finding such a paragon of wom-
anhood, are doubling singers with
dancing girls. While the ensemble
is dancing a hit number to a "dead"
microphone, a group of choir singers
behind the camera are producing the
vocal music which is recorded. It is
done in such unison that the illusion
is perfect.
The possibilities for development
along this line are awe-inspiring.
One can imagine the synthetic siren
that movie-makers of the future will
be able to create — a Lorelei voice, the
face and figure of a Venus, and the
dancing grace of a Pavlowa. It will
be indeed a rare man who will be able
to resist this superwoman.
Where will the movie chorus girls
be recruited ? A casual survey of the
musical films, such as "The Broadway
Melody," "Rio Rita," "On With the
Show," "The Movietone Follies,"
"The Hollywood Revue," and "Hit
the Deck," shows that talent is drawn
from various sources — from dancing
classes, from stage shows, from pic-
ture-theater prologues, from specially
trained persons registered with the
Central Casting Bureau. Fox has
put a group of girls appearing in a
Los Angeles theater prologue under
contract. They range in age from
twelve to eighteen, which is an in-
dication that in the film chorus youth
must be served. Even the youngest
of these has had experience.
The girl appearing in a revue num-
ber in a Los Angeles or Hollywood
theater will undoubtedly stand a bet-
ter chance of crashing the movie gate,
than she would by besieging directly
Central Casting Bureau and the stu-
dios.
But this is not the signal for a rush
to Hollywood. Many persons with
stage experience have already dis-
covered, to their sorrow, that there
are a hundred applicants for every
job in the talkies.
Continued from page 83
a couple of bailiffs appear at the door
with handcuffs.
It sounds simple and harmless
enough, but there is an insidious dan-
ger in this sort of censor evasion.
Unable to present adult themes in a
serious and thoughtful manner, pro-
Are C
ensors
H
uman s
ducers resort to undue emphasis on
physical details to lift their entertain-
ment out of the kindergarten class ;
and it is rather appalling to think that
the taste of the oncoming generation
is being deliberately beguiled awayj
from strong, clean, and truthful'
studies of life by subterfuges and al-
lurements which present a false con-
cept of it. Trickery and deceit breed
evil in whatever medium they invade.
Censorship defeats its purpose, be-
cause it attempts to dictate to the con-
science of the individual.
Continued from page 112
Miss Martin is Answered.
In July Picture Play Miss Martin, of
England, appealed to American fans to
appreciate British films. I expect, by the
time you read this, some of you will
have seen the British film "Kitty," and if
you appreciate this I'll eat my hat. It is
being exhibited in America and Canada
and just shows what England cannot do.
The dialogue was recorded in America,
and the recording is the only thing of
note. You cannot argue with a Britisher
about British films. He always flies to
the well-known excuse — that America got
ahead during the war. But that does not
account for the poor sets they give us.
We are bound down to a little corner of
the set, and here all the action takes
place. Two years ago the theaters would
not show an English picture until they
were forced to do so by the British Gov-
ernment. And even now the other half
of the program has to be good to get a
big audience.
"Wardour."
Camberwell,
London, England.
What the Fans Tkink
Calm Yourself, Betty.
How I hate to see a picture with Alice
White ! I've seen her in "Naughty Baby"
and "Show Girl," but enough is enough!
This time it is too much ! She gives me a
fearful pain. I feel furious every time
I see a picture of hers.
I read in the article, "Buddy Looks At
Love," that Mary Brian is one of his
girls. I'm glad of that — they just suit
each other. Oh, how glad I am that Alice
White is not a girl of his !
I agree with Joyce Alliston about tak-
ing Alice White off the screen and award-
ing a leather medal, but I'd do more than
give whoever did it a vote of thank'- — -I'd
claim them my benefactor for life.
Betty, of Toronto.
Toronto, Ontario, Canada.
A New Era Dawns.
Has no one noticed that, along with the
great change in Hollywood, has come a
change among the fans? They're grow-
ing more intelligent. Time was when a
hero was a hero because his eyes were
dark and soulful, or his profile was in-
spiring. But no more.
The public demands that an actor be
an actor; mere good looks can win no
laurels to-day. On the other hand, many
homely stars are winning acclaim, who
would have never caused a flutter in the
olden days — Eddie Dowling and Joe E.
Brown are examples. Surely Jeanne
Eagles would never win a beauty contest,
yet I defy any one to equal her portrayal
in "The Letter." The same is true of
Ruth Chatterton.
They are not destined to become movie
idols, because the day of movie idols is
over. They will be admired sanely, con-
servatively and wisely. Their pictures
will be patronized widely, for one can al-
ways be assured of a good performance
when a trained, experienced star gives it,
and we will see less and less of the
"Wanrpa- baby" variety, who traded on
looks alone.
Mildred.
Richmond, Virginia.
Advertising Se<
117
Eas>> Come, Eas>? Go
Continued f
one. A real duchess requires only
posing; an impoverished one requires
acting. Winifred acted in "Adora-
tion."
Julia Faye's place in the film firma-
ment was secure as long as she was
in the old Cecil DeMille roster. Julia
was in all C. B.'s films, from his tin-
sel bathroom epics down to "The Ten
Commandments" and "The King of
Kings." Remember "Manslaughter,"
"Saturday Night." and "You Can't
Fool Your Wife?" Julia did duty in
them all. In the bathroom films she
played vamps and in the latter-day
religious films she played virgins.
But when DeAIille tore up the plumb-
ing in his bathroom and disbanded
his forces, Julia was sans job for the
first time in her career. Out in the
world, and nobody heard from her
for several months. But Julia is now
signed with Metro-Goldwyn, which
is almost as secure as C. B., though,
as you might say, room without bath.
And — don't be surprised — another
absentee to return is bright, efferves-
cent Mae Murray. Her vaudeville
engagements over, the blond Mae is
in Hollywood, scheduled to do a
series of dialogue films for Tiffany-
Stahl. The magazines have kept
frigidly silent concerning the future
rom page 90
activities of this eccentric little ac-
tress, and it is many a moon since her
name or photo has glittered on their
pages. But silence can't keep -Mac
.Murray in seclusion. And so she
comes back again to pout and pose
and perchance to act. We shall sec.
And more will come, wagging their
contracts behind them. Constance
Bennett, who a few years ago was
embarking on a promising career, and
retired to marry the wealthy Philip
Plant, was recently unmarried and
has returned to the screen. There
have been rumors of the return of
Theda Bara. She has made one un-
successful attempt. Personally we
consider her too reminiscent of a pe-
riod definitely past. But you never
can tell.
And so a peculiar balance is kept
up. As the old go out and the new
come in, so too do the new go out
and the old come in. And it is good
to see them come back. After all. it
is the old favorites, who have enter-
tained us evening after evening, who
count. We know their worth, and
we'll cheer every one who is coura-
geous enough to come back in front
of the leggy young ladies, who kick
and make faces as their contribution
to the art of the screen.
Tke Stroll
er
Continued from page 59
found one of them. From that time
on no one is accountable for your ac-
tions except yourself.
New York may be famous for its
beautiful girls with apartments and
limousines, but Hollywood will never
be noted for the same cosmopolitan
manner of living.
The reasons are far from the moral
one. Expediency and comfort, rather,
rule the day.
The trouble with Hollywood is that
if a man smiles at a girl, or even
takes her out to dinner, she expects
him to put her in pictures.
It has been found by actual count
that every girl in Hollywood is eager
for a career, and some play for it
cleverly, others not so cleverly. But
in the end, every man they know,
however slightly, is asked to give the
little girl a shove up the ladder.
So, naturally, the big boys with the
limousines shun the little girls with
ambition, in an effort to avoid their
asking for favors in the casting of
pictures.
I know a couple of girls who came
from New York to play this racket
for stardom, and couldn't get into
Central Casting Bureau. They went
back to New York, and at latest re-
ports both had all the luxuries of a
Long Island estate. Proving that
New York is a guileless town, and
that Hollywood, for all its meander-
ing ladies, is not yet prepared for the
Continental mode.
This is attributed also to the male
and female old-maid gossips of Hol-
lywood, who scatter news of this type
with the ferocity of buckshot.
At the mention of reality — ah. ha!
— what about interviews with stars!
A year or two ago we had a rush
of seeming honesty, and John Gilbert
told what he thought of his mother.
Interviews to-day are yessing con-
tests, with the star trying to get in all
he can about his producer — provided
he isn't trying to break his contract
— and the writer remembering al-
ways that Christmas comes once a
month.
Some day. when all the present
constellations are dim. I'm going to
collaborate with some writer on "Mir-
rors of 1 lollywood."
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118
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ANGEL FACE Vivian Grey
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A Confidential Guide to Current Releases
Continued from page 61
with a cast including three important
talkie discoveries, Marguerite Church-
ill, Dorothy Burgess, Kenneth Mac-
Kenna. Intrigue and adventure around
a country estate, crooks, jewels, and
lovers. Well-played support.
"The Time, the Place and the Girl" —
Warner. All dialogue. An amusing,
lively story from the pompadour age.
Grant Withers makes debut in talkies,
with honors, as victim of a stock fraud,
but he blunders out. Every moment
good for a laugh. Betty Compson,
John Davidson, Gertrude Olmsted.
"Charming Sinners" — Paramount. All
dialogue. A mild stage play denatured
further for the screen, with much tea
sipping and hand kissing. A constant
wife catches up her husband and gives
him a lecture and makes threats, all
elegantly set forth by Ruth Chatterton,
Clive Brook, and William Powell.
Mary Nolan's first talkie appearance.
"Behind That Curtain" — Fox. All
dialogue. Very good film, in spite of
the mystery being revealed too soon.
Lois Moran in audible debut. Story of
a girl who marries an adventurer in
London and discovers in India that he
is a murderer. Capital performance
by Warner Baxter. Gilbert Emery,
Philip Strange do well, also.
"Broadway Babies" — First National.
All dialogue. Backstage melodrama of
the usual sort, with one redeeming se-
quence. Entertaining, with AliceWhite
trying hard to act, and a good cast.
Fred Kohler, as rum-running lover,
magnificent. Charles Delaney, Sally
Eilers, Marion Byron, Bodil Rosing.
"Mysterious Doctor Fu=Manchu,
The" — Paramount. All dialogue. Scot-
land Yard versus Doctor Fu, with plenty
of Oriental trimmings, develops into a
thrilling climax. The heroine is the
ward of the Chinaman, and the gallant
hero one of the latter's marked vic-
tims. Warner Oland, Neil Hamilton,
O. P. Heggie, and Jean Arthur do well.
"Four Feathers, The" — Paramount.
Silent. English soldier loses his nerve
before Sudan war, but later goes to the
jungles to redeem himself in the eyes
of fiancee and friends. Authentic,
thrilling sequences made in the wilds,
around which picture is cleverly built.
Fay Wray, Richard Arlen, Clive Brook,
William Powell, Noah Beery, Philippe
de Lacy.
"Black Watch, The"— Fox. All dia-
logue. Pictorially magnificent film
about English soldier on the Afghan
front, whose mission is to win love of
girl leader of hill tribe. Stirring epi-
sodes, but falls short of its ambitions.
Victor McLaglen, Myrna Loy, David
Rollins, Mitchell Lewis, Roy d'Arcy.
"Cocoanuts, The" — Paramount. All
dialogue. The Four Marx Brothers
bring their capers and humor to the
screen, without loss of fun or individu-
ality. Slight musical comedy plot
about a stolen necklace. Kay Francis,
Cyril Ring, Oscar Shaw, and Mary
Eaton.
"Broadway" — Universal. All dialogue.
Big in point of sets, story reminiscent.
Show girls, wise-cracking boys, boot-
leggers in evening clothes, with gun
play and love-making, all finally meet-
ing suitable rewards. Old stuff made
tolerable by embellishments. Thomas
E. Jackson and Paul Porcasi of stage
cast, Evelyn Brent, Glenn Tryon, Rob-
ert Ellis, Leslie Fenton, Arthur Hous-
man, Merna Kennedy.
"Fox Movietone Follies of 1929"—
Fox. All dialogue and song. Pagean-
try of colorful revue, with wisp of
story, and all the ingredients of a stage
show, except a certain cleverness.
Many well-known faces, including Sue
Carol, David Rollins, Stepin Fetchit,
Sharon Lynn.
"Innocents of Paris" — Paramount.
Dialogue and singing. Debut Maurice
Chevalier, French stage star of unique
personality due for merited success in
another picture. Shoddy story of waif
befriended by junkman and latter's rise
to fame on stage. Astonishing per-
formance by child, David Durand. Syl-
via Beecher and Margaret Livingston.
"Bridge of San Luis Rey, The" —
Metro-Goldwyn. Part dialogue. Story
of notable novel faithfully brought to
screen, with reverence and pictorial
beauty. Frustrated, unhappy lives of
five characters end with collapse of an-
cient Peruvian bridge. Lily Damita,
Raquel Torres, Duncan Rinaldo, Don
Alvarado, Emily Fitzroy, Henry B.
Walthall, and Ernest Torrence.
"Desert Song, The" — Warner. All
dialogue and singing. First operetta to
reach screen, with solos, duets, and
choruses of stage representation. Silly
story, but no fault of screen's telling
of it, but whole thing too long, there-
fore tedious. John Boles, Carlotta
King, Louise Fazenda, Myrna Loy,
John Miljan, and Johnny Arthur.
"Not Quite Decent" — Fox. Part dia-
logue. Hard-boiled night-club queen
discovers long-lost daughter as chorus
girl listening to temptations of villain,
so she exposes serpent to girl in great,
big scene of simulated drunkenness
and toughness. Theatric, unconvinc-
ing, but tolerably interesting. Louise
Dresser, June Collyer, Paul Nicholson,
and Allan Lane.
"Show Boat" — Universal. Part dia-
logue. Life aboard a river theater
traced on a wide canvas. Stirring
musical accompaniment, but well-
known story does not gain in film ver-
sion. Laura La Plante, Joseph Schild-
kraut, Emily Fitzroy, Alma Rubens
good.
"His Captive Woman"— First Na-
tional. Part dialogue. Dorothy
Mackaill at her best, opposite Milton
Sills. Silent episodes on charming
island, where love blossoms. Murder
trial with surprising sentence. Beau-
tiful photography, excellent acting.
"Through Different Eyes" — Fox. All
dialogue. Courtroom drama uniquely
developed in three episodes, ending
with happy reunion of man and wife.
Mary Duncan, Warner Baxter, Ed-
mund Lowe.
"Christina"— Fox. Silent. Quaint,
pretty, though sirupy picture, with
Janet Gaynor as Dutch girl, and
Charles Morton her circus sweetheart.
Troubled love, but certain to turn out
right from the first. Rudolph Schild-
kraut, Lucy Dorraine.
Advertising Seci ion
119
"This Is Heaven" — United Artists.
Part dialogue. Your old friend, the
story of the waitress who falls in love
with a chauffeur — and he's a million-
aire! Vilma Banky shorn of pretty
costumes. James Hall, Fritzi Ridge-
way, Lucien Littlefield, Lichard Tucker.
"Lady of the Pavements" — United
Artists. Old screen friends in new
trappings, but familiar situations. A
haughty countess, Jetta Goudal,
spurned by her fiance, counters by
making him fall in love with a cafe
girl, Lupe Velez, picked up and made a
lady overnight. The affair gets out
of hand, the girl flees, and the lover
follows, William Boyd is the maa
Lupe sing3 and sings.
"Noah's Ark" — Warner. A spectacle
of more eye than ear interest, unsur-
passed in its Deluge sccjie. Modern
sequences culminating in a hopeless
tangle in the World War, which fades
to the biblical sequences, where the
same characters appear. George
O'Brien, Dolores Costello, Guinn Wil-
liams, Noah Beery.
"River, The"— Fox. Romantic, po-
etic and slow picture of siren's un-
tiring effort to win an innocent coun-
try boy, who doesn't know what it's
all about. Magnificent backgrounds of
forest and stream and best acting of
Charles Farrell's career. Mary Dun-
can unusual as persevering siren finally
sublimated by love.
«•*%
RECOMMENDED— WITH RESER=
VATIONS
"Melody Lane"— Universal. Songs
and dialogue. This feeble imitation of
"The Singing Fool" is the vehicle for
much crooning after the manner of a
past age and an old-fashioned story.
Kddie Leonard, Huntly Gordon, Joseph-
ine Dunn. A baby girl is the inspira-
tion of the singing.
"Twin Beds"— First National. . All
dialogue. A moth-eaten farce in which
an inebriated stranger wanders into
the bride's bedroom and things have to
be explained before happiness sets in.
Patsy Ruth Miller is charming as the
bride. Jack Mulhall, Armand Kaliz,
Gertrude Astor, Zasu Pitts.
"Thunder"— Metro-Gold wyn. Silent.
The trials of a veteran engineer who
suffers from a schedule complex are
portrayed by Lon Chaney. The climax
comes with hauling a relief train to
flood sufferers over a submerged track.
Too much detail. James Murray line.
Phyllis Haver and George Duryea.
"Wheel of Life, The"— Paramount.
All dialogue. Action revolves slowly,
and by coincidence. Heavy efforts to
dodge love in India, that hotbed of ro-
mance, until a stray bullet paves the
way. Richard Dix a very un-English
Englishman, and Esther Ralston does
not gain by speech.
"Honky Tonk"— Warner. All dia-
logue. A red-hot mamma of the night
clubs suffers, because of frustrated
mother love, but her haughty daughter
finally acknowledges her. Sophie
Tucker's famous blues. Lila Lee,
Audrey Ferris, George Duryea, Mahlon
Hamilton.
"Drag" — First National. All dialogue.
Richard Barthelmess at low ebb, in
story about a country newspaper editor
whose in-laws are a "drag" to his ca-
reer, until he finally returns to the city
and his first love. Alice Day, Lila Lee,
Lucien Littlefield, and Tom Dugan.
"Father and Son"— Columbia. All
dialogue. Artificial plot and dialogue,
the sweet, sweet palship of father and
son all but wrecked by fortune-hunting
stepmother. A homemade phonograph
record saves the day. Jack Holt,
Micky McBan, Dorothy Revier, Wheel-
er Oakman.
"Idle Rich, The"— Metro-Goldwyn.
All dialogue. Story of conflict between
young millionaire and his stenographer-
wife's poor family, in realistic comedy.
Poor recording and photography, but
good acting. Bessie Love, Conrad Na-
gel, Leila Hyams, Robert Ober, James
Neil, Edythe Chapman, Paul Kruger,
Kenneth Gibson.
Information, Please
Continued from page 102
And he's married. Yes, he speaks with
quite an accent, of course. The sours in
"Innocents of Paris" arc "Louise," "Wait
Till You see Ma Chtrie," "On Top of the
World Alone," and "It's a Habit of Mine."
Maurice is a Paramount player. Laura
La Plante works for Universal. Laura
was born in St. Louis, November 1, 1904.
She entered pictures in 1919. Laura is
Mrs. William A. Seiter. Davey Lee was
born January 5, 1925; Ronald Colman,
February 9, 1891 ; Marion Davies, January
3, 1900; Eleanor Boardman, August 19,
1899; Nils Asther, January 17, 1902;
Buddy Rogers, August 13, 1904. Clara
Bow, Dorothy Sebastian, Arthur Lake
were born in 1905; Joan Crawford, Greta
Garbo, Janet Gaynor in 1906; Alice White,
Olive Borden in 1907.
Curious.— To tell you what these fan
clubs are for, you say? I'd like to know
myself! They're for two reasons, I think
— to make people write letters, and to
make me work. Vilma Banky was born
near Budapest, January 9, 1903. The
character actress you mention is Fulalie
Jensen. Myrna Loy was born in Helena,
Montana, but doesn't say when. Billie
Dove — real name Lillian Bohny — is
twenty-six. She has dark hair and hazel
eyes; is five feet five and weighs 115. Irvin
Willat is her first and present husband.
To join her fan club write to Consuelo
Romero, 138 South Townsend Street, Los
Angeles, or to Eva Dial, 151 Goliad Street,
San Antonio. A list of all Billie's pictures
would require more space than I could
spare. Francis X. Bushman, Jr., is
twenty-seven : six feet two in height. His
only film that I know of since "Four Sons"
is "Marlie the Killer,'' a Pathe dog picture.
He is married to Beatrice Danti and they
have a four-year-old daughter, Barbara.
Flip. — You should go to work with the
wheat cakes in the window of a white-
front restaurant. Xana, in "Seventh
Heaven," was played by Gladys Brock-
well. Yes, Greta Garbo is to make a
talkie, "Anna Christie,'' which calls for a
Swedish accent. Lupe s lys she and Gary
are really engaged. No, she has nevci
been married before. Nils Asther's Amer-
ican films are "Topsy and Eva." "Sorrell
and Son," "The Blue Danube, - ' "Laugh,
eyes yon
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( lown, Laugh," "Loves of an Actress,"
"Her Cardboard Lover," "Our Dancing
Daughters," "Dream of Love," "Wild
Orchids," and "The Single Standard."
See P. K.
Katherine Jernigan. — The principals
in "The Magic Garden" were Margaret
Morris, Raymond Keane, Joyce Coad,
Philippe de Lacy, William V. Mong,
Hedda Hopper, Paulette Duval. Sue
Carol has announced her engagement to
Nick Stuart. Alice White's next film has
not vet been titled. Alice was born July
25, 1907. Her weight is 105. Yes, Morton
Downey sang in "Mother's Boy." Lois
Moran was born in Pittsburgh, March 1,
1909. She weighs 110 pounds. Clara
Bow's new film is "Pointed Heels." It was
just some sort of studio politics which
made Dorothy Sebastian lose the lead in
"The Tempest."
Nosey Parker. — Nosey by choice, or
was it born like that? Billie Burke is
Mrs. Florenz Zicgfeld ; occasionally she
comes out of retirement to star on the
stage. Elsie Ferguson is also a stage
star. I don't know whether they will
ever remake "Forever" or "Smilin'
Through." Nothing has been said of do-
ing so. Lila Lee plays opposite Tom
Meighan, in "The Argyle Case."
A Redhead. — I thought all the red-
heads were in Hollywood ! You'd think
so, going about the studios. Marion
Davies' supporting cast in "The Fair
Coed" included John Mack Brown, Thelma
Hill, Jane Winton. As to Jack Holt's
double in "Submarine," try to get any
company to admit a star has a double.
You try. Yes, James Hill was the hero
in "Senorita." Dix and Barthelmess are
both thirty-four; Clara Bow is twenty-
four.
Respectfully Yours. — That's as far
as you get with a signature. Pola Negri
was divorced from her first husband,
Count Dombski, before she came to Amer-
ica. I can't say whether he is still liv-
ing. It looks just now as if Pola will
not return to the American screen. I
don't know of any autobiography of hers
for sale, though she is writing a book
about herself now.
Frances Carter.— Such a nice defter,
Frances ! The leading lady in "From
Headquarters" was Ethelyne Clair. John
Boles did his own singing in "The Desert
Song" — he was a musical comedy leading
man before his screen career began.
"Doronthy Vernon of Haddon Hall" was
Mary Pickford's picture. "When Knight-
hood Was in Flower" was Marion Davies'
first big success. I can't find Colonel
Brcreton mentioned in the cast of "Janice
Meredith." In "Les Miserables" a French
film, Jean Valjean was played by Gabriel
Gabrio ; Cosette by Sandra Milowanoff;
Marius by M. Rozet. "A Tale of Two
Cities" was filmed years ago, with William
Farnum. No, Harrison Ford hasn't ap-
peared on the screen since "Three Week-
ends." There is a fan club for him right
there in Detroit — Elizabeth Sumner, 2357
West Grand Boulevard. John Boles has
no fan club as yet. John's next is "Rio
Rita."
Lucille. — Thanks for the "big bouquet"
for The Oracle. I'm putting it in water.
James Ford is a First National player.
Jean Arthur was born in Plattsburgh, New
York — she doesn't say when. Her real
name is Gladys Greene. She was a com-
mercial model in New York before going
into pictures. She applied for work at
the Fox Eastern studio, was given a screen
Information, Please
test, and signed. Raymond Hackett is
married to Myra Hampton of the stage,
and they have a new son, born in June.
Raymond is a recent recruit to the talkies
from the New York stage. Olive Borden
is from Virginia and began her screen
career in short subjects.
Barbara Sheffield. — I'm sorry you
don't have better luck getting your letters
published in "What the Fans Think." The
letters are quite impartially chosen, but of
course we get many more than we have
space to print. I'm sure I don't know
what is Eleanor Garrison's magic charm
for getting autographed photos and let-
ters from the stars. Greta Nissen's real
name is Greta Ruzt-Nissen. She was
trained as a dancer and did such a charm-
ing dance in the stage version of "Beggar
on Hprseback," that she was engaged for
the same role in the screen version.
Hence her start in pictures. I never
thought her screen appearance did her
justice; perhaps that explains why she
has never "clicked" with the fans. And
talkies may make it even more difficult
for her, since she has quite an accent.
Her other important films were "Lucky
Lady," "Lady of the Harem." "The Wan-
derer," "Blonde and Brunette," "Fazil,"
and "Hell's Angels."
H. P. M. — I suppose that means "hot
afternoon." John Boles was born in Green-
ville, Texas, October 28, 1900. He at-
tended the University of Texas and stud-
ied medicine. However, he changed his
mind after graduation and went on the
stage instead. He sang in musical com-
edies and was playing the lead in "Kitty's
Kisses" when Gloria Swanson saw him
and sent for him to play in "The Loves of
Sunya." So began his screen career, and
of course the introduction of singing pic-
tures has put him on top of the world.
He is six feet one, weighs 180, and has
gray-blue eyes and brown hair. He's mar-
ried' and has a two-year-old daughter.
A Rudy Fax. — As to wholis taking Val-
entino's place, I don't think any one could.
But Rudy Vallee, of radio fame — soon
to go into pictures — has been compared to
Valentino, because he achieved the same
sort of sensational, overnight popularity.
Jane W. Reid. — You were a little late,
weren't you, in learning of David Powell's
death? He died of pneumonia, April 16,
1925. He was born in Scotland and played
on the London stage before going on the
screen. He appeared with Sir Herbert
Tree, Ellen Terry, and Sir Johnston
Forbes-Robertson. His films included,
among others, "The Woman Under Oath,"
"Princess of New York," "Love's Boom-
erang," "Spanish Jade," "Her Gilded
Cage," "The Siren Call," "Missing Mil-
lions," "Anna Ascends," "The Hero,"
"Outcast," "Glimpses of the Moon," and,
as you say, "The Green Goddess." He was
appearing in films for Paramount at the
time of his death ; that would be the only
place I know of to write for his picture.
Major Cresp'm, in "The Green Goddess,"
was played by Harry T. Mo rev.
Bobs. — Does that refer to your hair?
Besides the films you mention, Leslie Fen-
ton has played since "What Price Glory?"
in "Going Crooked," "Gateway of the
Moon," "First Kiss," "Girls Gone Wild,"
"Broadway," "The Man I Love," "Office
Scandal," "A Dangerous Woman," "Paris
Bound." I haven't the exact date of his
stage appearance in "An American Trag-
edy," but it was during 1927. His mar-
riage to Marie Astaire took place Febru-
ary 3, 1927, according to my records — but
you tell me in another letter they never
did get married.
Jeannette Mexdro. — Sorry, this busi-
ness of trading pictures through The Ora-
cle is getting too involved to handle any
longer. There's a Clivc Brook club ; head-
quarters with Ethel Arnold, 25 Syhe Road,
Hcaton Bradford, Yorkshire, England.
To join Our Club fans, write to Julia
David, 62 West Dedham Street, Boston.
There are several Greta Garbo clubs ;
for the one nearest you write to Elnora
Rodenbaugh, Baird Avenue and Fourth
Street, Barberton, Ohio.
Helena Rickey. — Well, I am answer-
ing as soon as possible, and I hope you
weren't expecting any miracles. Buddy
Rogers comes from Olathe, Kansas. He
has brown eyes and black hair. And I
don't even know his home address myself.
Barry Norton, was born in Buenos Aires,
Argentine, and is also brunet.
Hearty Reynolds. — So you'd like to
shake hands? All right, shake hands, here
comes Hearty. Consider your hand
shaken. I think the reason Barry Norton
gets less publicity than Gary Cooper, or
Nils Asther, is that he is not so popu-
lar with the fans. It's fan interest that
makes a star. Barry's next film is "The
Command to Love." No, I don't like Nils
Asther's love scenes better than Gilbert's,
but naturally that is only personal opin-
ion. Yes, Hearty, do write again.
A Gish Fan. — You have reason to be
disturbed. Lillian has been off the screen
much too long. She was scheduled to play
in "The Miracle Woman," but nothing
has been done about that, and I don't
know whether the film will ever be made.
Lillian is American, born in Springfield,
Ohio, October 14, 1896. She went on tin-
stage when she was six years old and be-
gan her screen career when she was six-
teen. There seems to be no fan club in
her honor.
N. L. — Ruth Etting is a stage singer
primarily, who has made a few short
subjects for movies. She was born in
David* City, Nebraska, about twenty-four
years ago. Her family's name is Ettin-
ger; she is of German descent. She is
five feet three, weighs about 117, and is a
blue-eyed blonde. She is married to Moc
Snyder.
Miss Julia Hoight. — I'm perfectly
willing to stand corrected, but this time
I think I shall sit down. According to my
cast of "Boy of the Streets," starring
Johnny Walker, Patrick Gallagher was
played by Charles Delaney. It's quite
possible that the part was cut out in the
showing you saw. There has been so much
changing about in the cast of "The .Canary
Murder Case," I don't know who's what
by now. But I believe Jean Arthur is now
to play the part Mary Brian was to
have had.
Marie Dennis. — By all means write
again. I always welcome fans who ask
easy questions. Johnny Mack Brown hails
from Alabama; he was a football star at
the State University there when he was
"discovered" and given a role in the "Fair
Coed." He was born on September 1,
1904. I don't think he is married, and nei-
ther is Lane Chandler. Lane is twenty-
seven. Outside of the Paramount studio,
Hollywood, California, I know of no per-
sonal address for him.
L. B. M — Outside of the recent Barthel-
mess story you mentioned, Picture Play
has not published an interview with him
lately enough for the back issue to be
available. Sorry.
A Pola Negri Fan. — If you think it's
too formal to address me as "Dear Sir,"
just call me "Skeezix" ; you're among
friends. Yes, Pola Negri made a film
called "Good and Naughty," released in
June, 1926. So far, no one knows whom
she will work for in Europe. Picture
Play has many pictures of her in the is-
sue for October, 1928.
A Barry Norton- Fan. — Well, then.
Your favorite was born on June 16, 1905.
His new film is "Nobody's Children."
Arline Riper. — I'll put your Billie
Dove fan club on record, and refer her
fans to you. See Maree Berry.
A Bow Fan. — Does Clara Bow smoke
cigarettes? I don't remember. But, any-
how, I wouldn't tell on a girl ! Lucilla
and Jola Mcndez are sisters. I think that
Maria Al'ba's name was changed from
Maria Casajuana, because the latter was
too hard to pronounce. Gilda Gray was
born in Krakow, Poland, Maria Alba
somewhere in South America, Greta Nis-
sen in Norway. Do you specialize in for-
eign players ?
Miss B. Foy.— r So you wouldn't mind
having my job? You're easily pleased, I
must say ! No one can say I don't have
to work at it! William Desmond starred
in "The Vanishing Rider," and, I think,
played the title role, though the identity
of the rider is not revealed in the cast.
He is five feet eleven, weighs 170, and has
black hair and blue eyes. Francis X.
Bushman doesn't give his home address,
but I am assured by stars themselves that
just "Hollywood, California," reaches them.
Sorry, but Harry Woods is not well
enough known for me to have any infor-
mation about him. If you saw "him in
an FBO film, try him at that studio.
Anne Gray. — More questions about
Dick Arlen. That boy certainly ought to
be starred, judging by his popularity, and
I hope he is. Yes, I've met him, and
there's no one in films I like better. He
and Jobyna are a great pair. They gave
a dinner party one night; the cook was
ill, sojoby got the dinner herself. That's
the kind of regular people thev are. I
don't think Dick plays the piano. The
Richard Arlen Fan Club has headquarters
with Frank W. Leach, 4 North State
Street, Concord, New Hampshire.
Renee Wallington. — So I seem good-
tempered and obliging, do I? Well, that's
not hard, peeping out from the pages of
a magazine. You should see me one of
these cold mornings. No, indeed, Conrad
Veidt has not gone back to Germany, but
has just finished— at this writing— '"Erik
the Great." Conrad was born in Berlin,
in 1894. He is tall, with very dark-blue
eyes. Besides those you mention his films
include, "The Cabinet of Doctor Caligari,"
"Love Is Blind," "The Living Mask,"
"Ivan the Terrible," "The Flight in the
Night," "Memoirs of Manolescu," "The
Hands of Orlac." Harry Crocker was
born in San Francisco — be doesn't say
when. He is six feet tall, weighs 175, and
has dark hair and eyes. Back numbers
of Picture Play— for the past two years
— may be obtained by sending twenty-five
cents for each issue with your request,
to this office. Malcolm H. Oettinger has
never interviewed Ramon Novarro for
Picture Play.
Inquisitive. — I see you're interested in
our tiny players. Little Jane La Verne
was born in Redlands, California, in 1923
— I don't know her birthday. She has
brown hair and hazel eyes. She can be
reached just now at the Universal studio.
"Snookums" was born in August, 1924.
/ADVERTISING SECTION
Reginald Denny is thirty-three, Billie
Dove twenty-five. No, Billie Dove has
no children. As tn whether her husband is
good looking, I wouldn't know about that.
I've never met him.
G. Dorax. — I think Conrad Nagel is
coming back in vogue, now that talking
pictures are with us. He was born in
Keokuk, Iowa, March 16, 1897, and at-
tended Highland Park College in Dcs
Moines, where his father was dean of
music. He has played in pictures about
eight years, and before that was on the
stage.
A Mary Philbin Fan. — You just sling
questions about at a mile a minute, don't
you? Mary Philbin was born on July 14,
1904. She is five feet two and weighs
96. I don't know her exact age at the
time she won the beauty contest, but I
suppose she was about sixteen. Since
she was still in high school at the time,
she probably did not finish school, but
went to work in pictures when her op-
portunity came. Yes, her engagement
to Paul Kohner has been definitely an-
nounced. Ricardo Cortez is at the TifTany-
Stahl studio, Sunset Boulevard, Holly-
wood, and so is Buster Collier. Cullen
Landis free lances, but he can be reached
at just Hollywood, California.
Josie Bennett. — The last time I heard
of Edith Storey — five or six years ago —
she was living at Northport, Long Island,
New York. That's all I know as to what
has "become of her."
Lillie. — You are interested in antiques,
aren't you? I haven't the cast of "Daddy
Long-legs"— that being very old — but I'm
fairly certain Marshall Neilan was Mary
Pickford's leading man. The Prince of
Ithaca is not listed in the cast of "Helen
of Troy."
Eii.ene Huff.— "The Fourth Command-
ment" does seem a little silly for the title
of a film based on the fifth. But any one
who can explain why pictures are titled
as they are, would be clairvoyant — which
I'm not. Perhaps whoever named that
picture for Universal got his command-
ments mixed.
Gail Morton.— If I didn't pardon curi-
osity — with the job I've got — what a sour
life I'd lead! Lottie Pickford Forrest
is Mary's sister, who married Allan For-
rest. Her previous husband was George
Rupp, and Mary— or, as you say, Gwen—
Pickford Rupp is their daughter, there-
fore, Mary's niece. I should say that five
feet three is about the average height for
screen actresses, and the average weight
about one hundred and teiu Dan Dow-
ling was the boy you mention in "Lilac
Time." I don't know the story of "Yel-
low Fingers," but, judging by the cast, I
think May Foster, as Toinctte, and Ralph
Ince, as Brute Shane, must be the two
you ask about. Nils Asther's name is pro- I
nounced Nills Aster; Meighan is Mee-an ;
Menjou is Mon-ju; Renee Adoree is Ray-
nay Ad-ore-ray.
Mickey from Chicago. — I can always
bear up under a barrage of questions like
yours. See Phyllipe Jeanne La Rue
and Fern McDougle. Dick Barthelmess
has dark-brown hair and eyes. That's his I
real name. He is married to Jessica
Haines Sargent.
Hotsy Totsy— Aren't you too danger-
ous to have around? Audrey Ferris is five
feet two; weight 103. Irene Rich won't
tell her age. Alice Terry is thirty-one.
You probably saw the interview with Nils
Asther in last December's issue. See R. C.
Zimmerman and Sheila.
121
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"I've Come to Take You Away from This-
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In a sudden lull of the music, Wayne's words came tense and impassioned. Dozens of
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less workmanship, or the use of shoddy materials.
This is one important reason why it pays to read ad-
vertisements and to buy advertised goods. The product
that is advertised is worthy of your confidence.
Advertising Section
Laugh!
/////he /ears roll
down your back at
VICTOR M C LAGLEN
EDMUND LOWE
LILY DAM ITA
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MONTHLY ]llllllllllllillllllllllllllllillllllllllllllllllllllliilllli11
Picture Play
Volume XXXI
Contents for October, 1929
Number 2
The entire contents of this magazine are protected by copyright, and must not be reprinted without the publishers' consent.
8
15
What the Fans Think
They say what they mean in our open forum.
Buddy Knows Tricks
An unusual photograph of Mr. Rogers, as a magician, with Nancy Carroll
Get Your Man! William H. McKegg . 16
The success slogan of Hollywood and what it has accomplished.
Threefold Joy . 19
Proof that blessings come in triplicate.
What Her Father Paid for Stardom .
Patsy Ruth Miller's parent shows his ledgers.
Nutty, But Nice
We mean Eddie Nugent
Hysteria Hits Hollywood ....
A bit of history past and present.
Over the Teacups .....
Fanny the Fan has her say.
The Luck of the Spanish ....
The career of Bebe Daniels takes an upward curve.
What's In a Name? 33
Pictures of players who have assumed their mother's patronymic.
Nils — As He Is . Margaret Reid
Mr. Asther is truly revealed in an intimate close-up.
Favorites of the Fans
Eight full-page portraits in rotogravure of some you like best.
Bob Moak . . .20
Samuel Richard Mook . 22
Helen Louise Walker . 24
The Bystander . . 26
Helen Starr Henifin . 30
34
35
Just a Little Madcap
A popular writer inspects Lupe Velez.
There's Point to This! .
Some stars prove it with their bows and arrows.
An Army with Banners ....
It's the legion of newcomers bent on succeeding.
Bessie, Unlimited .....
Miss Love picks her own age.
Teter Tans Rebellion
Betty Bronson resolves to paddle her own canoe.
A Passionate Pilgrim .....
. Malcolm H. Oettinger . 43
44
. William H. McKegg . 46
50
. Myrtle Gebhart . .51
. Samuel Richard Mook . 53
James Murray wrestles with life instead of conforming to it.
Continued on the Second Page Following
Monthly publication issued by Street & Smith Corporation, 79-89 Seventh Avenue, New York City. Ormond G. Smith. President: George C. Smith, Vice
President and Treasurer; George C. Smith, .lr.. Vice President; Ormond V. Gould, Secretary. Copyright, 1929, by Street & Smith Corporation, New
York. Copyright, 1929, by Street & Smith Corporation, Great Britain. Entered as Second-class Matter, March 6, 1916, at the Post Office at New York,
N. Y.. under Act of Congress of March 3, 1879. Canadian subscription, $2.86. Foreign, $3.22.
YEARLY SUBSCRIPTION, $2.50
SINGLE COPIES, 25 CENTS
ALL MANUSCRIPTS MUST BE ADDRESSED TO THE EDITORS
We do not hold ourselves responsible for the return of unsolicited manuscripts.
D
;illllilill!!llllllllllllllllll!!lllllllll!ll!!llllllllll!illllil!l!l!l!!!^
Advertising Section
The
Whole Show
on the Talking.
Singing Screen!
With Paramount Short Features of
the New Show World you see and
hear The Whole Show on the Talk-
ing, Singing Screen. And what a
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PA R AM Ol N 1
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THE MARX HROTHERS
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OSCAR SHAW — MARY EATON
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"THE DANCE OF LIFE"
HAL SKELLY
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MAURICE < HEVVLIER
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and more
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-PARAMOUNT FAMOUS LASKY CORPORATION, ADOLPH ZUKOR, PRES., PARAMOUNT HID'.., NEW YORK
^j|jiii!i!i!!!ni!i!!iii!i!iii!iiiiiiiiiiiiiiiiiiiiiii!!i Contents Continued
The Stroller
Pungent comment on the vagaries of Hollywood.
Have Foreigners a Chance Now?
New and interesting aspects of an old question.
For No Man's Land
What the stars wear when away from masculine eyes.
Hollywood High Lights ....
News and gossip of the cinema colony.
Sand Sport .......
Pictures of seaside pastimes.
A Confidential Guide to Current Releases
Timely tips on pictures now showing.
The Screen in Review ....
Our critic reports on the new films.
It's Love He Wants .....
Ivan Lebedeff has had about everything else in life.
Must a Star "Go Hollywood"? .
Shining examples of conservatism say "No."
The Mike Confesses All .
Amusing contretemps in recording famous voices.
Crumbs of Love ......
Left over hugs and kisses of the stars go to whom?
Information, Please .....
Answers to readers' questions.
Neville Reay .
Myrtle Gebhart
56
58
62
Edwin & Elza Schallert 64
68
Helen Louise Walker
Myrtle Gebhart
Caroline Bell .
The Picture Oracle
. 69
. 70
. 74
. 83
. 88
. 91
. 102
STARS CANT BE ORDINARY PERSONS
THERE is something that sets a star apart from other people,
for the aura of the actor is hard to throw off. Then, too, there
are the actions of the stars to be considered. Often they are so
unlike those of persons in ordinary walks of life, that no one but a
genius, self-styled or otherwise, would indulge in them. Frequently
they are inspired by ego rather than any conscious infraction of the
rules of good taste. Be that as it may, in the November PICTURE
PLAY our redoubtable contributor, William H. McKegg, will dis-
cuss the subject in his usual thorough fashion, and illustrate his con-
tention that stars are not as you and I, with some startling examples
of actions that speak louder than words. Don't miss this! It's too
utterly amusing!
9f ^w*--
-
id i
Tke Singing Teackers' Paradise
IT'S Hollywood just now! For virtually every player is seeking
voice culture in an effort to improve his equipment for the talkies.
Elza Schallert, who knows music and musicians as few among the
picture colony do, has investigated the subject from every angle. In
next month's PICTURE PLAY she will give the result of her sur-
vey and reveal some amazing instances of gullibility among the
stars, as well as some examples of splendid work done by competent
teachers. Her story will be profusely illustrated, so by all means
make a note to read it before the edition is exhausted.
Skimming over the contents of the next number, we find an in-
terview with David Rollins, his first in PICTURE PLAY, which
will throw new light on the "typical American boy." And an intro-
duction to Marguerite Churchill, the stage actress who made a hit in
"The Valiant" and "Pleasure Crazed," is pleasantly accomplished.
Margaret Reid brings to light new facts about William Powell, and
Leila Hyams tells all about her early life, which wasn't at all like
yours, my dears. Paul Page, Guinn Williams, and Fredric March
are nominated for their first interviews and, all in all, next month's
PICTURE PLAY will open new worlds to you. By all means take
the trip!
o^
-**o
Advertising Section
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Wkat trie Fans Tkink
What a Star's Secretary Thinks.
WHY are the players charging for their photos?
Just because the average fan letter is not worth
spending their own money on.
As a secretary to a young player for over a year, I
have had the opportunity of reading some fifty thousand
fan letters. And here is a composite of what ninety-
nine per cent write :
"Dear
: Please send me your photo. I saw
one in a movie magazine and you are very handsome.
I think I saw your last picture, and you were very
darling.
"A friend of mine received your picture — send me
one like it — and autograph it to me in your own hand,
not your secretary. We are having a contest to see
who can get the most photos. I have forty and want
yours for my collection.
"Can you get me in the movies?" (A personal de-
scription follows.)
"Write me a- nice, long letter in your own hand. Not
typewritten.
'Love and kisses,
"Any Fan."
These letters are written on scratch paper, sometimes
torn in many pieces. Half are in pencil, and one fourth
of the words misspelled. Names of towns are chopped
by abbreviations which would puzzle even a geographi-
cal expert. And strangely enough, fans sending dimes
and quarters have a penchant for giving no address
at all. Figure that out !
Once in a great while — probably one out of fifty — a
letter that is different, arrives. Written on nice paper,
in a clear, readable hand, and joy be, the address is
there ! This person receives a photo, money or no.
Then there is the fan who would like to be the
player's friend. They write by fits and starts around
twice a month, and feel injured when not replied to
immediately. We appreciate these fans, but they de-
mand a great deal from their favorite. It is physically
impossible to act and answer four hundred letters a
day personally, and visit all the towns, extending cordial
invitations, Give the actor and actress a chance! Fan
mail isn't what it's cracked up to be, after the first
five hundred.
Next time you write mention work and not features,
stories and not photo collections, and perhaps the players
will relent. At least the secretaries will !
Los Angeles, California. One of Them.
Are Fan Letters a Nuisance?
Having read so many letters lately concerning photos
from the stars, I thought perhaps some one would be
interested in my collection. Very few of the players
fail to answer in some way or other, and in many in-
stances they are most generous. There was a time
when practically all the Paramount and First National
players sent out photos within a week of receiving a
request. Lately they send out small cards stating that
they will be pleased to> send the desired photo on receipt
of the money asked.
Enough has been said about this matter by others, and
it is only repeating to say I, for one, think it is a great
mistake. We do not write to them merely because there
is nothing else to do, but because we really admire
them, and want them to know what we think of their
work. They seem to consider these notes a nuisance,
and yet don't they gauge popularity by these so-called
nuisances? Besides, we don't want our rooms all clut-
tered up with the pictures of those we do not care for.
Even though our favorites fail to answer, somehow
we can't dislike them for it.
I've certainly had my share of disappointment, but
I've never given up hope and several times my patience
has been rewarded. For example, Ramon Novarro and
Joan Crawford. I had written them many, many times,
but nothing ever came of it. Finally I decided I'd have
one more try of it and wrote again. Ramon answered
within two weeks, and sent two lovely photos. Joan
answered within six weeks. I had written to Buster
Collier about five times, but I guess I addressed him
at the wrong studio. Well, after a while he also an-
swered, and since then Fve received two pictures and
two letters from him.
Mary Frances Cooney.
1012 Throop Street,
Chicago, Illinois.
Why the "Take-off" Craze?
In two letters in a recent Picture Play, Clara Bow
was censured for undress. Now why make Clara the
goat when practically all Hollywood has gone crazy
to take off? [Continued on page 10]
(Presented by Carl Laemmle)
_ ie last cword in C motion C/icture
(bntertainment comes from Universal/
The ONE and ONLY
If ever there was DRAMATIC DYNAMITE this is it— with a glorious
musical background. For two years the stage play stood out as the
greatest of the era. ..and NOW all the thunderous drama, the grace-
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wonderful stage play have been transferred to the screen with the
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— T. E. Jackson — Otis Harlan — Robert Ellis — Paul Porcasi — Leslie Fenton
—Betty Francisco — Arthur Housman. A Paul Fejos Production.
Associate Producer, Carl Laemmle, Jr.
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RED-HOT youth aflame on the campus! A football game
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by the University of California Glee Club! College chatter
that will surprise you! Sorority parties, fraternity dances,
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Hayden Stevenson and others of the original Collegians cast
in the hottest film that ever sizzled on the screen. Directed
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COLLEGE PICTURE. Associate producer, Carl Laemmle, Jr.
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THE GREATEST LOVE STORY EVER TOLD
Pictured with all the movement, beauty, thrills and grandeur
of the colorful floating theatres on the Mississippi River. That
is Edna Ferber's romance of the ages transferred to the
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Otis Harlan, Alma Rubens, Emily Fitzroy, Jane La Verne.
Including the musical hits from the Florenz Ziegfeld stage
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by Harry Pollard.
UNIVERSALIS TALKING AND SINGING TRIUMPH!
FORWARD MARCH ^ UNIVERSAL /
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10
Continued from page 8
Any movie magazine looks like an art-
i-i models' convention. It's all boloney,
if they say it's lor art's sake. It's for
cheap publicity and sensationalism. It
isn't doing one bit of good, either, but
lowering Hollywood and placing the stars
on the basis of common creatures.
Even the pictures themselves are not
free from this state of undress. One wit-
i a scene of this one in scanties, or
that one stripping, and the next one los-
ing her bathing suit. Oh, you bet! The
competition is keen. Each one doing her
best to take off as much as the law per-
mits, and go. id taste, the public,_ and a
sense of modesty can go to the winds.
You see a demure, innocent, little thing
playing a pure, sweet heroine, and then
you come across her picture in a maga-
zine, in a flimsy bit, with all the sophisti-
cation of the age in her eyes. I've watched
them all. The giddy ones you know will
do it ; the sensible ones you were sure
would not; the shy, chaste maidens you
were sure would blush even to think of
it. They all flop, sooner or later. Dis-
play ! Hollywood has gone nudity wild.
But, please, not Mary Brian or June Coll-
ver. If they succumb, I just couldn't
bear it. Dalma Dale.
San Francisco, California.
Will Fans Stop Writing?
One wonders just what the fans think
of this new ruling at the studios that
photos of the stars must be paid for.
Personally, I am not at all in favor of
it. If a reasonable price were asked for
the photos, I think no fan would refuse
to pay ; but the price for the pictures
leaves one to think the studios have hit
upon another way to make money. Many
companies in the various fan publications
advertise photographs of stars for twenty-
five cents, and evidently make money. If
these companies can make money, it stands
to reason that the film companies will
make more. Therefore, I wish to regis-
ter my complaint as to the unjustness of
their demands. Fans, what do you think
of this matter? Speak up!
May I ask the stars a question? What
do you expect to take the place of the
photographs which you have been sending
in reply to letters? Surely you are not
conceited enough to think that the fans
will continue to write letters which they
know will tie ignored. One of the great-
est means by which the fan remains in-
terested in the star is this letter writing.
And vet it seems that producers have
decided to put an end to it. Anyway, it
will be interesting to watch the outcome
of this affair. Leonard E. Eury.
Boone, North Carolina.
Fan Love Trampled.
I will admit that Dolores del Rio is
beautiful in a dusky, throbbing way, and
is, to a degree, a talented actress. The
choice of stories and her private affairs
have done, and are doing, a great deal
of harm to her prestige.
A star's private life is, of course, her.
own — with one exception. She must be
careful to safeguard the ideals of her
fans. Otherwise it is finally oblivion for
her.
Of course, there are those of us who
still like her, but no longer love and
admire her. We can't. She has broken
and trampled the thing we idealized.
Box 382, Holton, Kansas. Guila.
A Retort, a Prophecy, and a
Complaint.
I'm taking this opportunity to contra-
dict a statement made by Jack Wester-
What tke Fans Think
velt in his letter in July Picture Play.
He remarked that Buddy Rogers is only
a passing fancy. It's beyond me to figure
out such a remark, unless it was caused
by jealousy. I've admired Buddy since
"My Best Girl," but after seeing and hear-
ing him in "Close Harmony," I'm all for
him. He plays five musical instruments
with ease, and sings perfectly. And he's
positively so natural and at ease, one sim-
ply lives through his pictures. He and
Nancy Carroll are a perfect team and
make Garbo and Gilbert look old and
drab ! I might add, also, that Mr. Rogers
has sent me two lovely pictures of him-
self, autographed, free of charge. And
in this day and age that seems a miracle.
With all their thousands of dollars, most
of the stars get big-hearted and send
out a cute little card stating sizes of pic-
tures and the cost ! And we fans make
them. Think of it !
In this same letter by Jack Westervelt,
he also states that Norma Talmadge and
Thomas Meighan will be with us for
years. Well, I hope they're still alive;
but I, for one, certainly will not stand in
line to see any pictures of Norma's. I
admire Tom Meighan, and always have,
but I really think he is past the hero stage.
And surely, Jack, you aren't blind.
Didn't you notice how old Miss Talmadge
looked in "The Woman Disputed"? In
my opinion, in two years' time, or less,
Norma will be out of pictures.
I agree with Yerda Colleen Bunch that
we are having too many Mexican actresses
thrust upon us. I have never favored
Dolores del Rio, but after her husband's
tragic death I have no interest in her
whatever. Dolores is one of the highest-
paid stars. Why is it? She has no looks
whatever, and her acting is just average.
I can name dozens who outshine her, but
receive less pay.
Another reason for downing the Mex-
ican actresses. Look at Lupe Velez ! We
read continually about her madcap and
kittenish ways. In my opinion, Lupe
craves attention and publicity ! She
flaunts the man she's supposed to love.
Lupe doesn't even know the meaning of
love — except for herself. She shouts high
and wide, "My Gary," "I love Gary,"
"Gary loves me," until it's beginning to
dent Gary Cooper's own future. If only
he would realize that ! He seems so re-
served and bashful, and has that "what's-
it-all-about" look on his face, and you
simply couldn't put him wise.
Mavis Daven.
Vancouver, British Columbia.
Letters From Nils Himself!
Convinced that "What the Fans Think"
is no battleground, by using it as such, I
think we are abusing a privilege granted
us. To abuse an actress or an actor is
small, and I bow my head to my infrac-
tion, my only plea being an overenthusi-
astic desire to defend Nils Asther. I
offer now my most sincere apology to
Joan Crawford and to her loyal fans.
My second reason for writing is my
letters of appreciation from Mr. Asther
himself. His letters are just the kind
one would expect him to write. Charm-
ing as he himself is, his letters are wholly
appreciative, written only as one of his
distinctive individuality would write. This
idea comes to me — do fans judge Mr.
Asther by the things they read, or the
work he does? We should not be influ-
enced by what other fans, or the papers,
say.
Numerous fans have written me asking
how to get Mr. Asther to answer their
letters and send photographs. It would
be well for the fan mentally to place him-
self in a star's position, and decide what
he would do if he had to work as hard
as the average star has to.
If you are truly loyal fans, interested
in Mr. Asther's work, and not just mak-
ing a collection of photographs and auto-
graphs, take his appreciation for granted,
and do not expect him to spend his very
few leisure hours writing letters. If you
must have his photograph, write to his
studio and, for the love of Mike, pay
for it. Grayce M. Tether.
13136 Indiana Avenue, Detroit, Mich-
igan.
Why Make Joan Over?
It makes me angry when I read about
Joan Crawford having to make herself
over in order to be acceptable at Pick-
fair. Who are they? Did they always
have what they have now? They should
be ashamed to act so toward Joan. She
is as good as the people at Pickfair any
day.
Is it just because she was on the stage.''
She had to earn her living, and it was
honest work, wasn't it? She should be
given all the more credit for making such
rapid strides toward success and higher
and better living.
And societv in cinemaland is wonder-
ing why Doug, Jr., and Joan went to
New York to get married. Cant they
go where they like for this never-to-be-
forgotten event? Maybe it is true that
the Eairbankses have closed the door of
their home to them, and if they have, it
is nothing to be proud of.
Didn't Doug, Sr., marry the one he
wanted? Now that his son picked his
bride, I applaud his choice. Why doesn t
he welcome her at his home?
Mildred Rickl.
2507 South Clinton Avenue, Berwyn,
Illinois.
Big Words and Boyish Pranks.
Listen, everybody! The greatest thing
imaginable has happened, and I've got to
tell you about it. I have at last received
Lon Chaney's autograph— m spite of the
fact that he is reluctant to send it out to
his admirers! I had given up all hope
of ever receiving his autograph, and the
receipt of it came very close to giving
me heart failure.
Now for the question. Why do pub-
licity men persist in trying to make us
believe that everv one entering the movies
represents the highest degree of intelli-
gence' We know that some of our stars
are not highly educated, yet in their con-
fessions we find the publicity men putting
words that we have to turn to a dictionary
to understand. And, too, no matter what
the star does, he is still the essence of all
that is pure and noble
If he acts silly and childish, they call
it sportsmanship. Only a short time ago
I read where one popular film player in-
vited his interviewer to skip. From what
the writer said, she wasn't exactly clever
at skipping, but enjoyed tripping the full
length of the hall with him. Here, where
we^are gifted with an asylum, such a per-
son would be put under observation. But
mavbe I'm a crab. Bill Batty.
74 Mill Street, Middletown, Connecticut.
"Ladies" Are Still Preferred.
In July Picture Play there was an
article about Mav McAvoy not getting
good breaks— all the good roles are given
to other players, et cetera. Ann Sylves-
ter, who wrote the article, says that "The
Shopworn Angel" presented a role that
would have made Miss McAvoy. I dis-
agree with this statement, because May
Continued on page 12
Advertising Section
11
RED LETTER EVENTS I IM
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STREET GIRL
A Star-Sprayed Romance of Life and Love
Beneath the Glitter of Broadway's Night Clubs
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The story of a Broadway Cinderella
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characterization of unusual appeal
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John Harrou, and a fast-cracking
comedy trio, Jack Oakie, Ned Sparks
and Joseph Cawthorn.
Betty Compson, as the cabaret violin girl, scores
the greatest triumph of her career in "Street Girl."
COMING RADIO PICTURES THAT FORECAST THE SCREEN OF TOMORROW
"HIT THE DECK"-A lavish
Radio Pictures presentation of
Vincent Youman's round-the-
world nautical musical drama,
with the popular songhits/*Some-
times I'm Happy," and "Halle-
lujah.*'
"HIGH RIVER"— A Herbert
Brenon production from the
play, "High River House."...
A majestic story of conflicting
wills and passions in the river-
threatened levee country of the
Mississippi.
Elaborate production plans
await the arrival of Rudy
Vallee in Hollywood where
he will make "The Vagabond
Lover" for Radio Pictures.
RKO DISTRIBUTING
CORPORATION
Subsidiary of the Radio Corporation
of America
Richard Dix, newest Rauio
star, who is now completing
the fir-t of his three marring
vehicles for this organiza-
tion.
"RADIO REVELS OF 1930"—
An all-dancing, all-singing, all-
-lar, all-novelty extravaganza.
I be first annual screen revue, to
l»r presented yearly by Radio
THE VAGABOND LOVER"—
Starring the inimitable Rudy
Vallee and his ''Connecticut V an-
kecs". . A romantic musical rom-
cdv, with color, action, comedy
and Rudy's "come hither" voice*
12
Continued from page 10
McAvoy could not and would not play the
role of the heroine of that picture. The
part was that of a sordid, depraved woman
of the world, who would belong to any
one for a price. That is not the kind of
a role that would help a lady succeed,
though it might have helped some other
type.
With more pictures like "Sentimental
Tommy," "The Enchanted Cottage," "Tar-
nish," "My Old Dutch," and "The Fire
Brigade," her success is assured. The
majority seem to prefer the vulgar type,
such as Clara Bow, Alice White, and
Nancy Carroll, but there are still a great
many people who have a preference for
ladies. M. J. McK.
Providence, Rhode Island.
"Sweet Foolishness."
I heartily agree with M. June Jones
about the rudeness of many letters, but
otherwise I dinna ! Her bland, impersonal
attitude as regards special favorites
proves that she is not a real fan. The
majority of us fans arc extremely warm-
hearted and ardent ; and the adoration
we give to our favorites is often a very
beautiful emotion. Unlike Miss Jones,
many of us have watched the career of
our special star from its beginning, and
I am very sure that when our gods have
passed from the limelight, our hearts will
still remember them.
Certainly "let the stars enjoy their
health and wealth while they may," and
also let them have the pleasure of know-
ing that the lovable among them are able
to inspire love that is loyal and sincere,
even though it be "sweet foolishness" !
Irene Borrowes.
Brighton, England.
To Mary Brian's Defense.
"Just Me's" comments in May Picture
Play handing Mary Brian a box of razz-
berries — which, I understand, is an Ameri-
can term of derision — have proved too
much for my forbearance. "Just Me"
states that Miss Brian cannot act. May
I ask when she has seen her in a part
which has given her any opportunities to
show just what a fine little actress she
really is? If such is the case, these pic-
tures have never been released in Aus-
tralia, as I make a point of seeing every
picture Miss Brian appears in, and, be-
lieve me, my devotion has caused me to
sit through some very boring ones.
In the three pictures she played oppo-
site Richard Dix she had fairly decent
parts, and I, for one, hope to have the
pleasure of seeing these two acting to-
gether again in the near future. In fact,
I consider a good deal of the success of
these pictures was due to Miss Brian;
as far as I am concerned, they were. She
can't act? Why, she has just been forg-
ing steadily ahead all the time, getting bet-
ter and better in each succeeding role,
until to-day she is one of the most fin-
ished actresses on the screen, apart from
being one of the sweetest and loveliest.
"Just Me" compares her, much to her
detriment, with Nancy Carroll, Anita
Page, Clara Bow, and Joan Crawford. I
grant the first three can act, but don't
forget they have always had good parts
to make something of, with the exception
of Clara, but then she is an exception to
all rules. As for Miss Crawford, I beg
to differ. "Our Dancing Daughters" is the
only picture I have seen her in, and then
she had a splendid part, good story, and
capable cast. However, I am not in favor
of running down stars who are not favor-
ites of mine, as I realize they all have
their admirers, and, speaking personally,
some appeal to me a great deal more than
Wkat tke Fans Think
others. "Just Me" should not "martyr"
herself by seeing Miss Brian's pictures.
Melbourne, Australia. Fair Play.
Broadwayites Not Welcome?
It may be true that the moving-picture
public, since the advent of the talkies, is
becoming more interested in dramatic
values and Broadway revues, and less in-
terested in the silent picture and in the
types of beauty it has been accustomed
to gaze upon. But, 'believe me, if that is
true. I'd like to know why "The Awaken-
ing," for instance, played to packed
houses.
This fan would prefer seeing a silent
picture, such as the one above mentioned,
with its two marvelous exponents of
good looks, than any of the several re-
cruits from Broadway in their talking
versions of successful stage plays, and
that goes for Jeanne Eagels, Ruth Chat-
terton, and all the rest!
Talking pictures are welcome, but the
Broadwav invasion of Hollywood is not,
and I, for one, hate to think of the young-
sters of the screen being chased off by
the older, more experienced players of
the stage.
I want to see youth and beauty, and
our Hollvwood players can furnish those
qualities 'better than any one else— and ■
dramatic ability, too. What more is nec-
essary? Ellen W. White.
5247 Florence Avenue, Philadelphia,
Pennsylvania.
The Sadie Thompson Accent.
I am sorry to hear that Emil Jannings
has gone back to Germany, possibly never
to return. The talkies are directly re-
sponsible for losing the best actor film-
land ever had. Why chase Jannings away
because he can't speak perfect, if any,
English? We may never in our lifetime
see another actor of Jannings' caliber.
He always leaves me with the feeling that
I've received my money's worth and some-
thing besides.
Jannings is not like most of our hand-
some stars. He couldn't get by on his
looks, and therefore he goes about his
business and gives us the best acting of
them all. It is almost unbelievable that
he played both Nero and the old man in
"The Last Laugh." I have never yet
talked to a person who didn't think Emil
Jannings great. As for most of the rest
of the foreign stars, they need never come
back, and I won't think they stayed long.
I would rather see Jannings in silent
pictures than listen to Jeanne Eagels com-
bining a Sadie Thompson accent with an
exaggerated Oxford accent, or whatever
they call it, as she seemed to do in "The
Letter." I liked the picture, however,
and I think Miss Eagels is a fine actress,
but I don't like her when her accent runs
amuck. However, the witness-box scene
was a wow.
I have tried and tried to cultivate a
taste for Greta Garbo and Clara Bow,
and the result has been nil. If those two
girls have sex appeal, I'll take hash. I
know my sex appeal, too. Greta looks
as if she's been warmed over, and seems
to knock 'em dead with that _ hang-over
look which I take to be anaemia. I long
ago tired of seeing John Gilbert slobber
over Garbo through six reels. When
Clara Bow opens her mouth, her face
seems to go into an eclipse. And, very
confidentially, I might add that Clara
seems to me to be a bit beefy for a girl
supposed to have "It" galore. Which all
goes to prove that, after all, the rest of
the world is wrong and I'm right, I sup-
pose. H. R. W.
Regina, Saskatchewan.
Those Undressed Poses.
My complaint covers those who high-
hat the public, those who overact their
roles through sheer belief in their own
superiority, and last, but not least, that
vast number of actresses who have photos
published in the magazines, in which they
appear as nearly nude as the limit of de-
cency will permit. In portraying a de-
generate role on the sceen, we must allow
a great deal for the story, but these same
stories point out the fact that virtue and
immodesty are not synonymous — quite the
reverse — and when they pose in such a
manner for photos, and expect us to be-
lieve they lead exemplary lives, they be-
little our intelligence.
Naturally, their private lives should be
of no concern to us; but, whether they
believe it or not, the life they lead does
show in their faces. This is regrettable,
for it is this type of person who gets the
most publicity, of the undesirable kind,
and the casual reader receives the impres-
sion that all movie people are of the same
caliber. "Norske."
St. Louis, Missouri.
One Man's Meat
It is a well-known fact that "one per-
son's meat is another's poison," and, this
being so, I think it a case of very bad
taste to write about some of the film play-
ers as Irene Gandreau has done.
If Marcelinc Day's and Leila Hyams'
types of beauty do not appeal to her,
there is one thing for Miss Gandreau to
do, namely, to avoid films in which either
of these actresses is playing. Please do
not think I am writing this letter because
the actresses mentioned are particular fa-
vorites of mine, but just from an outraged
sense of decency, and I think that any-
body who writes in the same strain is
taking too much for granted. Do these
people think that the letters they write
will in any way detract from the popu-
larity these players enjoy? Simply be-
cause people pay money to see a film does
not entitle them to tear the players to
pieces.
Another thing I notice is the way vari-
ous interviewers and fans criticize the
stars' way of living. Each actor and
actress has his or her own life to lead,
and I think it very wrong to criticize their
particular way of living. We fans are
taking a lot for granted when we cause
such a shower of publicity that players
have to break up friendships, as witness
the case of Buddy Rogers and Claire
Windsor. Stella Freeman.
3 Marlow Flats, Calvert Avenue, E. 2,
London, England.
Speaking of Voices
I just can't sit back and let these talk-
ies get the better of me. I like them,
yes indeed, but I would like them much
better if I knew definitely that the actor
or actress were speaking or singing his
own lines. I've been disappointed twice,
and deceived. Once was in Alice White's
"Show Girl," when I really thought she
was singing. The other was in Richard
Barthelmess' "Wear}' River." Both these
pictures widely advertised that we would
have a chance to see and hear our favor-
ites, and it was on the strength of that
that I went to see the shows, as I had
not heard favorably of the stories.
And I am so disappointed again in two
of the screen's best beloved, Mary Brian
and Dolores Costello. I do not think
Mary's enunciation is very clear. Her
whole part of the picture was lost to me
in "The Man I Love." Dolores Costello
is so beautiful. She was wonderful in
silent pictures, and one could enjoy her
Ad\ ertising Section
13
work, but in talkies her voice, although
registering well,, seems affected and me-
chanical. She has no warmth of feeling,
nor depth of emotion, in her speaking.
She fails to carry the audience with her.
July Picture Play surely razzed the
stars for neglecting to send photos for
cpiarters. That is bad business, but
of it, I am sure, is unintentional. But
there is no excuse for neglecting people
who send quarters to fan clubs. Quarters
don't grow on trees, and fan clubs ought
to be a little more careful about aci i pt
ing quarters as fees, if they don't intend
to keep up with the fan. I senl a quarter
to the Joan Crawford Fan Club, in Cali-
fornia, and never heard a word. Natu-
rally, I distrust all fan clubs, and some
of my ardent admiration for the star has
dwindled, too. Can you blame me?
Lorraine .Mason.
112 North Sixth Street, Yineland, New
Jersey.
Laurels for Two Scribes.
After reading so many nice letters in
Picture Play, I have decided to write
one. While others write praising their
favorite players, I give my laurels to two
of Picture Play's most interesting writ-
ers, Myrtle Gebhart and Helen Louise
Walker. When I first found Picture
Play the articles of Misses Gebhart and
Walker appealed to me more than any
others, so I wrote them at once in re-
gard to their nice articles. I received
replies with large, autographed photos.
Waiting for the mail man is a joy if you
are expecting letters from them. Since
then I have received letters, photos, cards,
et cetera, from them. Long may Pictire
Play have such very interesting writers
and courteous ladies on its staff!
Jess Hoaglin.
Pleasant Hill, Illinois.
Where Are the Gish Fans?
A few months ago in this magazine
one of the readers contributed a letter
to "What the Fans Think" concerning
the lack of interest in Lillian Gish and
her screen career.
What is the cause of this indifference?
I am sure all the fans haven't gone com-
pletely mad with sex, jazz, and red-hot
pictures. These modern-maidens pictures
are lasting too long. They are full of
bum gin, jazz, and sex, with not a leg
to stand on.
It is true, as S. W. says, when we arc
offered an excellent picture like "The
Wind," we pass it up for something with
less sense and more hokum. Are our
minds becoming moth-eaten, so that they
cannot enjoy the excellent acting and di-
rection of a picture with a thoroughly
worth-while storj ?
Lillian Gish is the present day genius
of the screen, but her followers are few.
because she doesn't appeal to the light-
minded. She stands for more than just
a movie actress. She is an artist that
cannot be compared with the present-day
so-called actresses of the screen. They
are beneath her as the average quickie is
to the superspecial of a big company.
I wish the fans would state their rea-
sons for the general indifference to Lil-
lian at the present time.
Sam J. Block.
316 Rutland Road, Brooklyn, New
York.
Thanks, Gladys, Thanks.
Picture Play is the only magazine in
the world which devotes 50 much space
to the fans, which is the best part of the
magazine to me, except, perhaps, an inter-
Continued on page 96
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Think of the money paid to artists for the illustrations in
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More than fifty famous artists ... earning big money
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14
Advertising Section
\
WHAT IX THE EE/T TALKING
MBLJJCCAAiA YOU'VE EVER TEEN
Whatever it is, it will be only second best
after you've seen "DARK STREETS"!
Double the thrills when Jack Mulhall talks
for two in the FIRST DUAL TALKING ROLE
ever screened — a history-making development
you'll want to be among the first to see.
And a story that hits and slashes at every
known emotion, when fate pits brother against
brother — with a tempting woman between!
You'll wonder what you would do if you
were Pat McGlone, a square cop if there ever
was one, and had to "get" your twin brother
for murder . . .
Or what you'd do if you were Danny McGlone,-
gangster, when the "mob" marks your own
brother for death!
"DARK STREETS" throws new light on the
possibilities of Talking Pictures. See it for its
exciting novelty, or for its engrossing drama
— or both. But by all means, SEE IT!
Willi J...L MulhalJ.
A Frank Lloyd
Production. Screen
Version by Bradley
King. Presented hy
Kicbju-dA.Kowlarui.
A r IRTT
NATIONAL-*
VITAPHCNE
PICTURE
m
7 \ r
It's New!
It's Different!
It's All-Talking!
'ViUiphtmtf" t$ the
regimtered trade*
mark <jf the Vita*
ptianeCorporation
■
15
PICTURE PLAY, October, 1929
Volume XXXI Number 2
Photo by Eugene Robert RIcheo
Again Nancy Carroll and Charles Rogers are paired off in "Illusion" as principals in a vaudeville act. and here
Buddy conjures the image of Nancy out of the smoke from a jar of incense. Will wonders never
cease? But of course there's more to the picture than that. Buddy is taken up by society,
for one thing, and his love is spurned by an heiress when she discovers that he is an
actor. But aren't there millions of fans who love Buddy because he is one?
16
Photo by Ball
Evelyn Brent's former husband established her box-office
value in a series of minor pictures before she became a
big-league star.
GET your man !
That's the keystone of success in the movies ! The
one method in Hollywood that never fails to help
hoist the dazzling blonde or brunette to the heights of
film fame !
Of course, one must not take this too literally. Surely
you don't expect refined young ladies to go galloping round
the town astride horses a la mounted police. No, their method is
a less athletic one. No firearms are used. The only fire used in
the campaign of capture comes from a pair of blazing eyes — at
least, I believe eyes are the chief weapons.
Facing such devastating odds, the man slowly submits, and from
then on realizes that his true love must reap the rewards she de-
serves. He sets out and works and works for her advancement
on the screen.
Now, I feel that these men get a bad deal in most cases. Of
course the married ones — if they are still joined in holy wedlock —
are happy with their charming wives. Marriage is reward enough.
But some of them ought to get a little credit. At the same time,
girls, you can learn how success comes to a good girl who keeps
her eyes open.
There are several ways of winning advancement on the
screen. Why go into details about them ? Rather would I
point out the sweeter side of the business — indicating the
rich rewards that come to the little girl who "acts refined"
and uses her brains.
Nevertheless, here are the various ways which will insure
a start in the movies.
GetY<
our
This is the success slogan of Hollywood
Police. It is a motto that every ambitious
heart if she would rival the notables
have profited by the faith and efforts
B? William
1. If you are well known on the stage you
will stand a good chance in the talkies.
2. The newspapers are wonderful backing
for all young girls. Have you a brother,
father, uncle, or even a friend — an interested
one — on a newspaper? If so, you will receive
a warm welcome from the studios. Also the
chance of a job. Of course the brother, father,
uncle, or friend is expected to play you up in
his paper, naming- the picture you appear in,
and — of more importance — the studio with
which you are connected. Quite a few nice
girls in Hollywood have been "made" by the
local press.
3. Relationship with writers, directors, or
any executive at a studio will help gain at
least a partial start for you.
4. Girls with deter-
mined mothers have oc-
casionally won a good
break, but maternal par-
ents are frequently a
stumbling block because
they're always in the
way. When Mr. Golin-
ski invites daughter to
lunch mother is in a
dilemma. If she refuses
to let her daughter ac-
cept, Mr. Golinski's feel-
ings are hurt to such an
extent that daughter's
progress is endangered.
The daughter usually ac-
cepts the invitation — but
mother is along, praising
Mr. Golinski's kind in-
terest in her little girl.
Mothers are a nuisance.
The last method,
which is so vague that I
will not describe it, but
which is reputed to be
commonly used in Hol-
lywood, is possibly over-
rated. They say a girl
can get ahead i f she uses
> her imagination and does
not discourage the de-
sires of Mr. Golinski
and his brethren for her
company.
I know one girl, a nice
young thing, who was put
under contract by a studio
over a year ago. The gen-
Anita Page was brought to
Hollywood by Harry Thaw's
venture in films.
17
Man!
as well as the Northwest Mounted
aspirant for film fame should learn by
mentioned in this article, all of whom
of men who gave them their start.
H. McKegg
eral manager was charming to her. "Just
come to me for anything you want," he as-
sured her. The casting director also ottered
his services. "You'll get the first good role
that comes along." he promised.
The girl had come to Hollywood from the
East with her mother, two brothers, and a
sister. Her salary was one hundred dollars
a week. Weeks passed, but no roles ap-
peared. When she went to the casting di-
rector he made himself as gushing as Mr.
Golinski. In fact, he didn't use any tact at
all in gushing. The girl decided to complain
to the kind-hearted general manager who had
offered his aid in any difficulty. But she
could not sec him, though her attempts were
many.
Silence followed. After six months the
girl was dismissed, with-
out ever having played a
single role. A couple of
days before her contract
expired she accidentally
came face to face with
the general manager.
"Well," he declared, "so
here's the only stuck-up
girl in Hollywood !"
Xow that wasn't a nice
thing to say. It was an
exaggeration on his part.
You know that. All the
same, the girl was in-
formed that she would
have had leads had she
not been so upstage.
Yet let us contemplate
the brighter side of film
life — with its happy end-
ing of honor and fame
and sometimes marriage.
Anita Page is one of
the best bets among last
year's "discoveries." Yet
she must ever be thank-
ful to Harry Thaw for
his interest in her. Mr.
Thaw placed Anita and
another girl in a couple
of films in Xew York,
which, I believe, were
never released. Coming
to Hollywood, he intro-
duced his "finds" to the
colony. The other girl
■ ■
i
Esther Ralston was
wasted on the desert air
until George Webb fell
in love with her.
V
I
Thoto by KidR'O
Photo by Fiypr
Billie Dove remained in beautiful obscurity until she married Irvin
Willat, an influential director.
disappeared from view. Anita remained with her mother and
younger brother and was placed under contract by Metro-Gold-
wyn. But we must remember — would she have got there without
Mr. Thaw's kindly discovery in the first place?
Billie Dove has been in pictures for ten years. Billie came from
the "Follies" with large eyes and a shapely figure. Her beauty
flashed from the screen, but her acting left much to be desired.
Billie lived quietly with her mother and brother. She scorned
all the obvious methods of advancement. Thus when Irvin Willat,
the director, saw her he became her slave. Mr. Willat decided that
Miss Dove should be among the stars. From program pictures
at the Fox studio — before Winfield Sheehan arrived to make it
one of the leaders — Billie went to Paramount, where Mr. Willat
was a director. When lie went from there to Firsl National
Billie went, too, and became a star. To-day Miss Dove owes her
success — as she will, T feel sure, admit — to her husband's devotion.
Laura La Plante will also do likewise in tribute to her husband.
William Seiter. Laura played in one and two-reel comedies at
the small studios long enough, and eventually at Universal. Other
pictures came her way, but few fans knew her. When Laura
flashed her dental smile and dazzling eyes on Mr. Seiter she cap-
tured him as surely as any Mountie ever caught and held hid man.
Mr. Seiter saw capabilities in Laura and she got the breaks. Her
position as a Universal star received impetus from her husband's
zeal in her cause.
Lina Basquette was dancing merrily in the "Follies" when the
late Sam Warner noticed her. Mr. Warner was helpless under
her disturbing glances and gave in. His newly found joy did not
Get Tour Man!
Photo by Freullch
The turning point in Laura La
Plante's career came when she met
William Seiter, the director.
last long, however, for he died
soon after their marriage. But
Lina bravely worked on, regard-
less of her husband's death, in
Adolphe Menjou's "Serenade."
Personal feelings and emotions
must be submerged at times by the
ambitious. Soon after that Lina
was engaged for the heroine of
"The Godless Girl." And after
that she married Peyerell Marley,
Cecil DeMille's chief camera man.
George Webb was snared by
love as soon as he laid eyes on the
blond Esther Ralston. Esther
worked in pictures, but never got
anywhere. Year after year saw
her no nearer the position her
beauty deserved. But George
changed all that. Working for
Paramount, he . saw to it that
Esther was noticed. And noticed
she was. A role in "Peter Pan"
was given to ber and from then
on Esther's climb to fame and
stardom was assured. But let us
not forget George's first aid. He
is her manager as well as her hus-
band.
Nor let us skip over the substantial stepping-stone
placed by John Barrymore in the faltering path of
lovely Dolores Costello. Dolores and her sister, Hel-
ene, and their mother came to Hollywood and got noth-
ing but stray extra work. One day while casting was
going on for "The Sea Beast," John saw Dolores and
felt himself caught in a whirlpool of emotions inspired
by his admiration of her exquisite beauty.
Although a leading lady had already been chosen
and placed under contract — Priscilla Bonner, to be ex-
act — she was dismissed. But Mr. Barrymore was
decent. He ordered the exact amount of money paid
her she would have received had she appeared in his
picture. But what is money compared to success ?
Nobody gave the dismissed leading lady a thought,
for Dolores was gorgeous opposite the great John. He,
too, was enchained by Miss Costello's charm and beauty
and, as every one knows, as soon as divorce proceed-
ings freed Mr. Barrymore of his second wife, Dolores
became his third.
Evelyn Brent had tough luck before she earned her
present position. Gaining no foothold in America, she
went to Europe. A few pictures were made in Eng-
land. Then she was engaged for "The Spanish Jade,"
a Paramount picture filmed in Spain. It was a break
for Evelyn, but not a very big one and it got her no-
where.
Coming to Hollywood, she met Bernie Fineman, at
that time general manager of what was then the
F. B. O. studio. Mr. Fineman married Evelyn and
placed her in a series of
crook pictures which
gave the Brent her box-
office value. When Ber-
nie went to Paramount,
Evelyn was signed too
and had a better chance
to reveal her talents.
To-day she is one of the
foremost actresses on the
screen. She is divorced
from Bernie and is now
married to Harry Ed-
wards, but she does not
begrudge Bernie a bit of
grateful praise. How
could she?
Oh, we can snigger at
marriage and the love of
a devoted husband for
his charming wife, but
these shining examples
prove my contention that
the wise and fortunate
little girl gets her best
breaks when she gets
her man and holds him
in marriage.
And there is no more
absorbing business for a
husband who knows the
ins and outs of Holly-
wood, than to further
the career of his wife.
Her success is a tribute
to his sagacity, and skill
as a politician.
John Barrymore placed
a firm stepping-stone in
the faltering path of
Dolores Costello.
19
Threefold Joy
So say these parents of blessings
in triplicate.
Howard
Bre therton,
the director,
above, lias un-
usual names
in his family
— Barbara
A n n , David
Legrce, and
Priidcn c c
Roma.
Fred Niblo, the director, above, with
Loris — who resembles her mother,
Enid Bennett — Peter, and Judith Beryl.
Agnes Christine Johnston, the scenarist,
below, nearly bowled over by Mitchell,
Ruth, and Frank.
H. B. Warner,
left, and Joan,
Harry, Jr., and
Lorraine.
Pat and Mrs.
O/Malley, be-
low, and their
famous colleens
Sheila, Eileen,
and Mary Kath-
leen.
20
From the moment Patsy Ruth Miller played in Nazimova's
"Camille," the movie gates opened to her.
DOTING parents who are raising their offspring
for stardom in the movies might do well to tear
a page or two from the diary of Patsy Ruth Mil-
ler's dad.
There they would discover, at first glance, that the
life of a screen actor or actress is not all jade bathtubs,
Rolls-Royces and broiled canary tongues, served with
the compliments of the producers.
And before reading much further, Papa and Mamma
Hopeful probably would decide that little Agnes is better
suited for a career as the crossroads dressmaker, despite
the fact that her curls are duplicates of those that once
adorned the head of Mary Pickford. Or that Harold,
aged ten, and developing a closer resemblance to Charlie
Chaplin each passing day, faces broader opportunity as
a clerk in the home-town bank.
The savants tell us that experience is the greatest of
all teachers, and Patsy Ruth Miller's father has been
through the mill, insofar as things Hollywood are con-
cerned. Therefore, it might be well to listen to his ad-
vice when he says, "Don't come to Hollywood deter-
mined to lay siege to studio gates, unless you have :
"Camera features and personality, plus plenty of
couraye.
"A natural inclination for things theatrical.
"Not less than $25,000 that you are willing to gamble
against your future."
And Dad Miller knows whereof he speaks. He in-
vested more than $20,000 in Patsy Ruth during the two
years before she got a toe hold in the films and was
earning enough to pay her own way.
Dawn of the year 1920 found Oscar Miller firmly en-
trenched as a prosperous and
popular citizen of St. Louis,
Missouri.
His broom handle and wood
novelty manufacturing concern
was making him wealthy,
Wkat Her Fatker
When Oscar Miller undertook the job of
he went about it as a business man with
the record of his expen
B$ Bob
which was quite a change from the meager salary
he had earned as a newspaper man a decade be-
fore. He was prominent in politics and a leader
in St. Louis civic affairs.
His home life was ideal. Five servants relieved
Mrs. Miller of the burden of maintaining the
house, so that she might devote her time and atten-
tion to her children, Patsy Ruth, then attending
Mary Institute for Girls, and Winston, who was
enrolled in a private school for boys.
But Oscar Miller had worked hard for success,
and now that it had come to him, he felt he was
entitled to a vacation. Father, mother, and the two
youngsters went into family council, and the vote
for southern California as their choice of play-
grounds was unanimous.
Dad wanted to play golf over the famous courses
where international matches had been staged.
Mrs. Miller welcomed the idea of sunshine and
warmth at the height of a St. Louis winter.
Winston looked forward to swimming in the
salty Pacific.
Patsy Ruth, too, had her reasons, but she kept
them to herself. All of which should convince one that
she is a brainy girl. Had she revealed what was upper-
most in her mind, dad and mother would have changed
the votes in favor of Florida.
For be it known Patsy Ruth Miller had secret ambi-
tions for the movies
— ambitions she di-
vulged to her par-
ents only after they
were settled aboard
the train speeding
toward Hollywood.
The Miller family
didn't exactly pour
cold water on the
dreams of their only
daughter. On
the other
hand, it could
not be said in
truth that they
encouraged
her.
However,
they did ne-
gotiate ways
and means of
One of Patsy
Ruth's first
poses when she
came to Holly-
wood nine years
ago.
21
Paid for Stardom
building a career for his daughter, Patsy Ruth,
something to sell. Now, for the first time,
ditures is made public.
Moak
inspecting the studios when they reached the film
center, for they themselves were somewhat inter-
ested in how, where, and why motion pictures wire
made. Like so many of their neighbors, they had
been semi weekly patrons of the celluloid palaces
in the Missouri metropolis.
The old Metro studio was the first to he visited.
There some one — he may have been a prop hoy,
for all Mr. Miller knows — volunteered the infor-
mation that Patsy Ruth was an ideal type for the
silver sheet.
That settled the matter in the mind of that young
lady. 1 [owever, her parents still refused to release
their enthusiasm.
But a similar remark was forthcoming in the
old Goldwyn studio and, later, for a third time
word reached them while they watched the cam-
eras grind on the Paramount lot.
Finally it reached the point where the major
portion of the days and evenings of the Miller
family were spent in discussion of the possibilities.
Dad was firm. They would return to St. Louis at
the end of their vacation and forget this nonsense.
Mrs. Miller, however, was weakening under the
pleas of her children. One dip in the ocean had
convinced young Winston that California was next
door to heaven.
With the ballots standing three to one, Oscar
Miller, business man, conceded defeat.
He returned to St. Louis, sold his manufactur-
ing interests, his home, his automobiles, and re-
turned to California.
Four weeks from the date of their first having set foot
in Los Angeles the Miller family was established in a
manor in Beverly Hills.
This fair maid is Patsy Ruth at seventeen months.
cute?
Isn't she
Then Dad Miller got
down to the task of taking
Patsy Ruth, a mere kic
with
Patsy Ruth's father spent
more than $20,000 on her
career before she began to
pay her own way.
over the hurdles that pointed to the realization of her
dreams. Remember that Oscar Miller was a business
man. He went about his new job in a
businesslike maimer. In other words,
he used his head.
The matter of selling Patsy Ruth was
not entirely unlike selling broom handles
and wooden novelties. The latter had
been accomplished by making the ac-
quaintance of heads of concerns that
purchased such things. Just so in the
new field. He met film executives. He
entertained them.
Knowing well that any article is more
readily salable if wrapped in an attrac-
tive package, he had Mrs. Miller triple
their daughter's already ample ward-
robe.
lie spent money to publicize i
Ruth and to exploit her otherwise, just
as he had done with the broom handles.
I te ha«l screen tests made.
He spent his working days interview-
ing studio bosses, from presidents down
isistant directors.
Patsy Ruth played her first extra role
in a picture two months after her father
had assumed her management. She
I i mtinui il nn page 1 12
22
Photo by Louise
Eddie Nugent says that he will have played his favorite ro
he is cast as an offstage voice, because parts are not made
A SAFFRON sky overshot with puffy, little clouds,
reflecting the tints of the setting sun, long rays
of which streamed through the windows of the
M.-G.-M. publicity offices. Five or ten miles away the
waves of the Pacific slapped lazily against the tempting
sands of Santa Monica Beach. Across from me sat
Eddie Nugent, his feet largely crossed upon the solid
pine desk of the head of the publicity department.
At least, he had been there a few seconds before, be-
cause I had been talking to him. As the typewriter
clicked at the rate of a word a minute, I was rudely in-
terrupted by him.
''Hey !" he said, looking impudently over my shoulder
at what I had written, "that stuff's out. What do you
think I am, a literary cream-puff or something?"
"What's the matter with that?" I demanded. "I think
it's a very lovely introduction to an interview."
"Yeah? Well, it ain't!"
"Aren't," I protested.
"Well, it aren't then. I'm not one to argue over
prepositions, but that bilge ain't going to press except
over my dead body. See ?"
"Look here, you can't talk to me like that. Do you
know who I am?"
Nutty, But
Even the seriousness of his first interview
irrepressible urge to be the gag man he
Nor, for that matter, can it
By Samuel
"Why? Have you forgotten who you are?"
"Write the story yourself," I muttered sul-
kily. "And, say! Do I get fed to-night, or
not?"
He glared at me in silence during the half
hour ride to his home — address furnished on
request — and presently we faced each other
across the dinner table.
"I was born early in life," he began.
"You don't have to tell me — the results
speak for themselves."
" — Of poor but honest parents, who are still
poor but honest, although the old man works
nights sometimes."
"Whaddaya mean, 'still poor'? Ain't you
good to your parents?"
"Amn't," he corrected, and continued. "They
were stage people for twelve generations back
on both sides — or maybe it's thirteen. I'm
unlucky enough for that. I was raised in a
Pullman, so to speak, and got my education, if
any, here, there, and everywhere. Part of this
education was a job as chorus singer at the
Metropolitan Opera House in New York.
And what's more," he continued as we lingered
over the coffee, "I made more as a chorus
singer than I'm making to-day. Once I played
the part of an angel in 'Parsifal.' That was
the first time I ever went on location."
"Location?"
"Yes, I was located up in the flies. But
there was something incongruous about my
being associated with the heavenly bodies and
either they or the prop man rebelled, because
one night they pulled the wrong wire and I
fell like Lucifer.
"When I was finally educated I went to work as an
office boy. But every time I got a chance I'd go back
on the stage until I was broke, and then I'd go back to
work again."
"Sort of chicken-one-day-feathers-the-next kind of ex-
istence, eh?"
"Yeah. Horse feathers. Well, presently I landed in
Hollywood. They all do."
"Who do?" I asked.
"Hoodoo is right," said Eddie. "That thirteen again.
I got in at five thirteen on the thirteenth of August. The
next day instead of becoming an actor, what do you
'spose happened ?"
"I'll bite — what happened?"
"I went to work as a doorman at Grauman's Million
Dollar Theater directing people from the box office to
the door of the theater. Personally, I think my talent
was wasted on that job, but there have been differences
of opinion on the subject. Eventually, my ability was
rewarded and I was promoted to the prologue. Ramon
Novarro — Samaniegos he was then — was also on the
bill and we shared the same dressing room.
"After a time I saw all my friends — Nick Stuart, Ra-
mon, Charlie Farrell, and George O'Brien beginning to
le when
smaller.
23
Ni
ice
cannot quell Eddie Nugent's
was before he became an actor,
quench his charm.
Richard Mook
achieve recognition — note the pur-
ity of my English, please — and I
broke the news to Mr. Grauman
that somehow his prologues would
have to struggle along without me.
I le didn't seem upset over the ca-
tastrophe, hut we'll let that pass.
"For some unknown reason, the
success I had attained in the pro-
logue hadn't impressed people the
way it had me and, to my surprise,
I didn't find casting directors and
agents besieging me the morning
after I left the theater. They
didn't come the following morn-
ing, either, and after a time I got tired of going hungry,
so I started designing clay baskets. Say, what're you
grinning at?
"Presently Fox realized that a brilliant gag man was
being wasted, and I started to work again. At least I
was put on the pay roll. In quick succession followed
prop man, double, and then I was put on the swing
gang at the M.-G.-M. studio.
"The swing gang is a gang that is swung from one
set to another to dress it. All the prop men and assistant
prop men who are not working on a production are put
on this swing gang, as it cuts down the number of por-
ters needed round a studio. As a new film goes into pro-
duction a prop man and his assistant are taken off the
Eddie Nugent was once an office
boy, but didn't stick at it long.
As Mr. Mook and M
ous home, a caller
r. Nugent lingered over their coffee in the actor's sumptu-
paused to say, "Always the leading man, Eddie — don't
forget yourself."
gang, and as another film is finished those who worked
on that film are put into the swing gang."
"Ah. Then you were an assistant prop man at that
time?"'
"I was not. Assistant prop man would have been a
big step forward. Listen closely and I'll try to make
clear to you just what my position was. Do you want
to know what's considered the lowest form of animal
life around a studio?
"No, I don't."
"All right, then, I'll tell you. It's an assistant prop
man. And I wasn't even one of those, if you know what
I mean. However, you know the old saying about not
being able to hide your light under a bushel."
"Bottle?"
"Bushel. After a time "
"How long a time?"
"Oh, a certain time. I was promoted to assistant prop
man and later to prop man. We were working on 'Mixed
Marriages' on location and I hurt my
back very badly. I was laid up for
quite a while. Couldn't stand up
straight and had to crawl around on
my hands and knees. By the time
you've done that for a week it be-
gins to get old, especially if you're
alone in a hotel room in a strange
town, and maybe only one of the boys
a day comes up to see you. because
who in hell cares anything about a prop
man ?"
Never having been a pro]) man I couldn't
answer, so. after a disgusted look, he con-
tinued r "I had plenty of time for reflection, so
I started working at it. 'Here I've been eight
years in this damned game and where am I
getting, if at all?' The answer was 'Nowhere
and you're getting there fast.' 'So.' sez I,
'when we get back to the studio I'm gonna
quit.'
"I was walking with a cane, because I
couldn't stand up by myself, and at five thir-
teen on the afternoon of August thirteenth —
eight years to the minute after I landed in Hol-
Continucd on page 111
24
Hysteria Hits Hollywood
An epidemic of shivers followed the advent of the talkies, just as every real or imaginary crisis in the
past has inspired a chorus of nervous moans.
Bj Helen Louise Walker
Illustrated by Lui Trugo
uMj^
HOLLYWOOD is in a state of confusion. Yes,
yes, yes ! It is, indeed ! People are scuttling and
scurrying here and there — not going anywhere,
to be sure, but just scuttling to relieve tense nerves.
Folks are losing jobs, signing contracts, rushing from
studio to studio, like so many frightened ants.-
All this, as you may have guessed, is on account of
talking pictures.
Everybody shivers. Actors of the silent screen shiver
for fear their voices won't take, and actors from the
stage shudder for fear their faces won't ditto. Direc-
tors wake up in the night, seeing horrid visions of yawn-
ing microphones, and title
writers wander about, plain-
tively demanding to know
what is going to become of
them.
Nobody is exempt. Com-
panies merge and remerge
— with the consequence that
some of the biggest execu-
tives tremble just as vio-
lently for their half-mil-
lion-a-year jobs as do the
gag men for two-reel, silent
comedies.
Rumors scatter across the
lots to reappear that night
at Henry's, grown to in-
credible proportions.
Each and every member
of the colony earnestly be-
lieves that the individual
volcano upon which he, per-
sonally, is resting at the
moment is the most disas-
trous one of all.
And boy ! Do they really
moan? Hollywood has the most accomplished moaners
in all the world !
Well, all I can say is, they ought to be good. They
have been moaning just like this for years and years.
And as for the confusion which is receiving so much at-
tention in the public prints everywhere, Hollywood has
been in some such state or other as far back as the very
oldest citizen, whom it would be unkind to name, can
remember.
They take things so seriously.
To begin with fairly recent events, there was the time
when Hollywood became so thoroughly and uncompro-
misingly pure. That was when the Arbuckle scandal
and the Taylor murder got into the papers, with tragic
Directors are having nightmares in which yawning
mikes float around their heads.
results to the players who were so unfortunate as to
have their names mentioned in connection with them.
Actors discovered that, while the moral American
public likes to imagine that its idols go in for a little
simple sinning in private, it will not tolerate their get-
ting into the newspapers in such a light. Women's
clubs, purity leagues, and so on, who until then had been
dismissed as a lot of busybodies who didn't matter, were
discovered to possess dire powers in the way of banning
pictures and ruining players' value at the box office.
Whereupon Hollywood abruptly doffed its pose of
bohemianism, and press agents scurried to the newspa-
pers with the disappointing
information that motion-
picture actors were the
most sedate people in the
world, my dear !
Every actor bought a
book, and had his picture
taken with it, sitting by his
fireplace, smoking a pipe —
a pipe is such a cozy ad-
junct, somehow — with a
large, woolly dog sleeping
at his feet, thereby proving,
presumably, not only that
he knew how to read, but
also that he loved animals.
The stars went in for
family groups, and every
periodical in the country
was flooded with pictures
of papa and mamma star
and the kiddies spending a
quiet Sunday at home, or
picnicking on the beach,
and just oozing domesticity.
Astonished mothers of
famous young women were hustled belatedly out of their
concealment, to be dressed in dignified black satin, with
just a touch of lace at the throat, and to appear with
their daughters at every premiere. Actresses who had
been "on their own" since they joined the chorus at the
age of fifteen, suddenly became shrinking, sheltered dar-
lings who couldn't stir without a chaperon.
And these same young women were photographed in
bungalow aprons, scrambling eggs and cutting roses,
until there was a distinct flurry in the egg and the rose
markets.
It was an economical era for actors, at that, because
no one would think of daring to offer a reporter a
drink.
Hysteria Hits Hollywood
25
The hysteria of that period was just dying down,
when the big shut-down occurred. Hollywood speaks of
it in much the same tone that an orange grower employs
in mentioning the big frost.
That was a time! No one knew just what it was all
about, but the moaners opined that this was, indeed, the
end. Pictures were finished. They had been merely a
fad, and the public had had its fill of them. And in
proof of their wailing, nearly all the big studios closed,
or else just barely marked time for some months. People
who were under contract were paid whether they worked
or not, but contracts were not being renewed and free
lance and salaried people suffered.
Actors, whose lives consist of ups and downs, are
skittish folk at best. They are not informed, nor would
the majority of them comprehend the workings of the
business end of the industry upon which their careers
and livelihood depend. They live constantly in fear of
the worst, and it looked to most of them at that time as
if it had happened.
The players who had come to pictures from the stage
polished up their old tricks, and prepared to go
back there and begin again. Those who had
grown up in the movies discussed various ways
of committing suicide.
At last, however, the storm subsided, studios re-
sumed production, and we were ready for the next flurry.
There were minor upsets just here, which kept the
moaners in practice. Threats, for instance, to move the
studios elsewhere agitated all the boys and girls who
had invested in California real estate, as well as the ones
who liked their all-year-round outdoor exercise, while
the ranks of those who lived and worked in the East
were terribly torn by the actual removal of several New
York units to California.
Contract players in the East announced loudly that
they would not come — and then came, muttering and
snarling that they would not stay. Now, after three
years or so, the Eastern studios are reopening, and there
is just as much grumbling among those people who are
asked to journey to New York for a picture or two.
Then came loud demands from producers and casting
directors for new faces. "The old, established stars are
nearly finished," they announced to a mildly astonished
world. "Some of those who grew up with the business
are nearly forty. We must have young players to re-
place them. New talent ! Where can we find new
talent ?"
Whereupon the various stu-
dios signed hundreds of de-
lighted youngsters for stock
companies and, having no use
in the world for so many, kept
them around the lots, idle on
small salaries, until many a
talented young spirit was com-
pletely crushed.
Paramount inaugurated its
famous school at tins period,
and also employed a mysteri-
ous gentleman who confided to
me that his job was the enter-
taining one of "star picker."
This, it seemed, entailed his
going to see lots of obscure
pictures and looking at tests
of hundreds of unknown play-
ers in a frantic search for
faces and personalities which
might be substituted for those
of famous actors at a quarter
of the expense.
A few years
ago the
happy-family
gag was a
nervous re-
action to
some Holly-
wood scan-
dals.
When depressions come, players
who used to be on the stage begin
practicing their old tricks.
And the moaners sobbed and sobbed. This time they
accused the powers of a deep-laid plot to cut down the
huge salaries of stars — to grind the actors down by en-
forced competition with unknowns. Probably they were
quite right. But it didn't work. And the next thing we
knew the foreign influx was upon us.
American companies had developed a flourishing for-
eign market and European companies, attempting has-
tily to enter into competition, were developing players
of their own. Their difficulty was that as fast as they
developed them, American producers lured them away
with promises of fabulous salaries, and the opportunity
of reaching a public which was greater by millions than
that commanded by their home industries.
So the Negris and the Janningses and the Asthers and
the Yarconis flocked to Hollywood, where they were
greeted with scant cordiality by the local talent. And
a great wailing and gnashing of teeth ensued.
Home-town boys and girls yammered that they wire
being shoved out of their jobs by a lot of foreigners,
who were here only to grab what money they could,
and scamper back to Europe with it.
They pointed out that large fortunes
would be thus taken out of the country,
and yelped as loudly as any chamber of
commerce for patrons of home industry
and talent.
The aliens, wounded to the quick by
these accusations, replied, with hurt dig-
nity, that it wasn't the money they were
after at all! Perish the thought of such
iniquity as an actor trying to get himself
some cash ! It was art that they were
serving by coming here, they maintained,
bringing to their own defense the in-
dubitable facts that there were larger op-
portunities for them in this country, as
well as better equipment for making good
pictures, more money spent on exploita-
tion, and so on.
In fact, they appeared to consider Hol-
lywood the true artist's Mecca, which was
somewhat bewildering to the home folks
who had never considered it anything of
the sort. Some of the foreigners even
Continued on page 106
2G
riicto by Duncan
Dorothy Gulliver has at last
graduated from "The Collegians."
SOME one ought to get out a
weekly book of etiquette to
guide me in what not to say
to actors," Fanny remarked in a
still, small voice that showed that
she had recently been crushed.
"It used to be quite au fait to
remark, 'What are you working
in at present?' secure in the
knowledge that you would hear a
long monologue, but now "
Fanny groaned.
I knew that she would confide
in me eventually, more to unbur-
den her mind than to save me
from making the same mistake.
But at the moment she was gaz-
ing at Thomas Meighan, who had
just come into the Algonquin.
He was looking much more gay
and youthful than he did in the
days when one picture followed
closely on the heels of another.
"Well, it's like this," Fanny
finally revived enough to speak.
"The Actors' Equity has practically
fied that they don't know whether to
<&iander
every one so tern-
admit that they are
working or not. Every one is suspected of favoring Equity
— and why not? If you ask a player if he is working,
likely as not you will follow it up with an embarrassing
question about whether Equity approved the contract or
not. So people just glare at you with a none-of-your-busi-
ness air, or else act gay and carefree, as though work was
the last thing to enter their minds.
"Richard Dix is one of the stanch supporters of Equity.
I've heard that is one of the reasons why he hesitated be-
fore he signed with RKO. Another reason is that Richard
is slightly past the juvenile, romantic age, and yet he has all
sorts of big ideas about the kind of pictures he wants to
make, and the salary he ought to get.
"Of all the girls in pictures, Ann Harding has taken the
bravest stand. She has a perfectly good contract with
Pathe, signed before the Equity manifesto, but she has
gone on record as saying that she will do whatever Equity
asks of her. And any one who knows Ann is sure that she
would gladly forgo a big salary, or getting on the right
side of producers, for the sake of a principle."
"Maybe she doesn't like pictures, anyway," I suggested,
always one to look for a tattered lining on the back of
every rosy cloud.
Fanny glared at me.
"She loves them," she declared, "and what is more to the
point, the camera and the
microphone look on her as a
gift from heaven. I'm all
set to get seriously annoyed
when her first picture comes
out, and a lot of people re-
mark that she didn't go into
pictures until they became
vocal. She could have gone
into pictures any time she
chose. Four or five years
ago, when she was making
her first hit on the stage,
Mrs. Valentino made a test
of her for Rudy. He
thought she was one of the
most exquisite and sensitive
actresses he had ever seen
He wanted her to work with
him, but a good play came
along about that time, and
she decided she would rather
stick to the stage. Then
First National wanted her.
And now that she has started
making pictures, I for one,
will break down and weep if
Equity allows her to make
the grand gesture and walk
out when it really isn't neces-
sary.
"Ben Lyon is another do-
or-die Equity supporter, and
that is brave on his part as he is a free lance. But Ben
can always go back to the stage. In fact, I've heard
Ina Claire will honeymoon in London.
27
tacups
dressing
Fanny the Fan hands a
bouquet to the queen of the
Eastern studios, and sees
Broadway dusting out its
rooms for the prodigals'
return.
that he intends doing so. He is slated to
try out a play in Greenwich, Connecticut."
I was so startled I couldn't even find
breath to ask, "And why not in Podunk?"
But Fanny gathered what I was - thinking.
"You shouldn't show your ignorance like
that. It really isn't at all like joining a
picture company in Muncie, Indiana, or
learning to write scenarios at a school in
Keokuk. Broadway moved up to Green-
wich, Connecticut, for the summer, and
now Broadway managers are there for
try-outs. The few first-rate actors who
haven't heard the call of Hollywood have
been appearing there, and as a sort of re-
turn courtesy Hollywood has already
yielded Cullen Landis to them. Later on
Doris Kenyon and Irene Rich are to ap-
pear in plays there.
"You really see more of a Broadway
audience there than you do on Broadway
itself, these days or nights. I've seen Elsie
Ferguson, to say nothing of Claudette Col-
bert. Florence Nash, and Jeanne
Eagels."
But why say nothing further of
Claudette Colbert? It seems to me
that some one ought to scream in the
ears of Goldwyn, Lasky, Thalberg,
ct al, that she belongs in talking pic-
tures. But Fanny never gives me time
to say anything.
"I saw Greta Nissen at the Green-
wich Theater one night, and I wish
that some one would explain to me
what has come over her. She seems
to be in a state of indecision
over her type. The top half
is definitely old-fashioned
vampire, with ear rings,
heavily shaded eyes,
and bulging figure.
And from the waist
down she is as de-
cidedly flapper as a
John Held draw-
ing. Very brief
skirt, socks, and
bare legs. I just can't
understand it."
"Maybe she was in a
hurry, or thought she
was going to a fire," I
volunteered.
"Well, if there was
any confirmation of a
Joan Bennett is setting a
breakneck pace for her
sister, Constance.
Photo by Carsey
Doris Kenyon expects to try out a stage play at Greenwich,
Connecticut.
rumor that Greta hurried for anything, it would be
such good news to picture producers that they might
give her another chance," Fanny announced vehe-
mently. "She was always one of those girls who
needed two or three hours to straighten her hat and
powder her nose after the camera man announced
that he was ready."
"Wonder what's happened to all the other
girls who have disappeared from pictures :"
I wondered aloud.
"Well, there haven't been so many.'' Fanny
retorted with her habitual vehemence. "You
act as though a plague had carried off thou-
sands. If you watch pictures closely, you
will notice that the girls who were good in
silent films are getting alon;; in the talkies
quite nicely, thank you.
"Maybe you haven't noticed it. but Tatsy Ruth
Miller is in two Broadway theaters this week, and
that's better than she used' to do in the silent days.
And Colleen Moore expects to sign a new contract
with First National. And Clara Bow is still packing
them in, even though the title of her latest picture
lias all the makings of a dirty dig. 'Dangerous
Curves' — just what Clara has to worry about.
"T can't understand why Dorothy Gish went to
England to make pictures. Or why Louise Brooks
is exiled to Germany."
Fanny realizes, of course, just as every one else
28
Over tke Teacups
'Collegiate'
But it is
may never
Marceline Day has joined Warner Brothers
for "The Show of Shows."
does, that players always go where the
bids for their services are highest, even
if the chances are ten to one that the pic-
tures they appear in will be terrible.
"More old-timers are breaking into the
news every day," Fanny announced cheer-
fully. "Beverly Bayne is to do a stage
play called 'Escapade' on Broadway soon.
Don't know just what sort of escapade
it will be, but you can draw your own
conclusions from the fact that she has
been studying tap dancing for weeks.
"Poor old Lillian Walker, who used to
be famous in early Vitagraph days, came
out of obscurity the other week to con-
fide to a judge that she was all but
starving. Her husband was just full
of ideas about common interests and
bank accounts when she was making
a lot and he practically nothing. But
now that financial positions are re-
versed, it took a court to get him to
give her two hundred and fifty dol-
lars a month."
"You can't expect me to remem-
ber her without displaying a few gray hairs, or an early
history of the movies. And I don't intend to do it."
"Well, then," Fanny urged, "maybe you will at least
be big enough to admit that you can remember Dolores
Cassinelli."
I slid one hand under the table while I hastily counted
one, two, three, four years, then nodded assent.
"Well, believe it or not, she is making a picture called
Photo by Phyfe
If she survives the
heat of Hollywood,
Marilyn Miller will
open in a Broadway
play.
for a small, independent
company, so we may never hear more of it. She
lias been touring in concert and singing over the
radio for the last few years. Maybe she will stage
a real cornel >ack in pictures, now that singing
voices are important."
"There isn't any need for singers in pictures,"
I protested. "To hear the press agents tell it,
every girl in Hollywood has a voice of operatic
quality. They insist that one and all would have
landed on the concert stage, if producers hadn't put
them under contract soon after their cradle days."
"Well," Fanny rose to the occasion. "Several
of them are good enough to be making phonograph
records."
"Yeah," I granted, "and who is to keep their
doubles from singing the records for them?"
Fanny hadn't thought of that, but a lot of us
skeptics will. And at that I am not as skeptical as
some people. I really believe that Dolores del Rio
sang the songs in 'Evangeline,' but in her personal
appearances with the picture in Pittsburgh, she just
murmured a few words from the stage and bowed
off. And a lot of patrons crabbed about it. Maybe
they haven't heard that a voice that will all but
burst a microphone cannot be heard in a theater.
"Adolphe Menjou and Kathryn Carver sailed
for Europe the other day," Fanny remarked idly,
as she craned her neck to get a glimpse of Give
Brook. "Adolphe insisted that he was a man out
of a job, but no one takes him very seriously, be-
cause his last picture was so good that Paramount
is sure to want him back in the fold again. And
I hear that Georges Carpentier is headed for Hol-
lywood and films. Wouldn't it be a grand idea if
some company made a picture,
a very modern three boule-
vardiers sort of thing, and used
Chevalier, Carpentier, and Men-
jou in it? Of course, it would
be expensive, but when the
Warners are using about a mil-
lion dollars' worth of talent in
'The Show of Shows,' some
other company might as well
make a costly gesture.
"Marceline Day is one of the
many in 'The Show of Shows,'
but that is not what has made
her a topic of general conver-
sation lately. She was rumored en-
gaged to Joe Benjamin, Marian Nix-
on's ex-husband, and that wouldn't
have been news, except that three or
four other girls thought they were
engaged to the gay, young ex-prize
fighter, too. I admired Marceline's
dignity when she didn't send indig-
nant wires to the New York tabloids
denying that she ever had been en-
gaged to him. She just sat back
quietly and said nothing."
A dignified policy, perhaps, but
one that doesn't provide much amuse-
ment for the innocent bystanders.
"Calif ornians are doing a lot of fast talking," Fanny
babbled on, "trying to convince visiting celebrities that
they are having most unusual weather. It has been so
hot out there that every one simply wilts under the
studio lights. Poor Marilyn Miller has suffered in-
tensely, but they say she looks anything but wilted. She
is watching the calendar with deep interest, counting
Over trie Teacups
29
the days until she gets hack to New York in a
new play on Broadway.
"A lot of New York theaters are having their
star dressing rooms dusted out, hoping for the
prodigals' return. Ronald Colman will appear in
a play on Broadway. At present it bears the
somewhat cumbersome title 'The Villain Is the
Hero After All,' which, it seems to me. tells the
whole story. If Joan Bennett wanted to come
hack to Broadway, she could have practically any-
thing she wanted. But I Jiave a hunch that she
will stay in Hollywood, and be one of the out-
standing successes of the year. Already she has
hit a pace that her sister Constance will have to
hustle to keep up with.
"I don't see how Hollywood can find room for
all the people who have gone out there. Little
Claire Luce, who has conquered New York and
I 'aris and London in musical comedy and drama,
has gone out, and won't he really happy until she
is queen of the movies, too. The producers will
have to work fast, though, as she is scheduled- to
open in a play on Broadway soon.
"Ziegfeld closed 'Whoopee' for a few weeks,
and the company made a sudden dash for the
trains, announcing that California was the per-
fect place to spend a vacation. Those who come
back will be the ones who found the studio gates
closed. I've an idea that Gladys Glad will stay.
She is an exquisitely beautiful girl and. further-
more, she married a newspaper columnist just
before she went out there. Husbands who know
everybody, and are in a position to make their
wives famous, are not exactly a drawback to girls'
careers."
Ina Claire is the only person I know
who could put up a convincing argument
against that. She was once married to a
newspaper man, who caused her little but
grief and humiliation. He reviewed a play
of hers — a great success, by the way —
something like this. "When Miss Claire
and I were married,
she gave her occupa-
tion as an actress. She
did nothing on the
stage last night to
support that conten-
tion."
I reminded Fanny
of that catastrophe,
but couldn't get her
into an argument. It
just reminded her of
something else.
"Ina Claire and John
Gilbert are sailing for
London," she stated,
"and a lot of girls in
Hollywood will be
much happier if she
is recalled by the stu-
dio before she gets to
Paris. One more Rue
de la Paix creation in
her wardrobe is a lit-
tle more than the jeal-
ous beauties could be
expected to stand."
Claire Luce, after many stage
conquests, will try films.
[■
Photo by Louise
Broadway says "I told you so" of Josephine
Dunn's success.
"Lucky for them that Gertrude Lawrence
stays in New York."
And for once Fanny agreed with me. In
fact, I have yet to find any one who doesn't
get dizzy in digging up their best adjectives
to describe Gertrude Lawrence. She has been
making "The Gay Lady" at the Paramount
studio on Long Island, and the company
is one of those happy-family affairs where
every one thinks the star is simply swell.
While the company worked at night she
took the whole troupe to see "Show Girl"
in the afternoon, crowded them all into
her apartment for luncheon, and herded
them to the theater quite like a young
teacher with a lot of high-spirited pupils.
She is one of those terribly interested and
tireless persons, who is always ready to re-
hearse a song with the orchestra, or stand
in for the camera man to get his focus.
She simply hasn't any nerves.
"The studio crew appreciate her all the more,
because of their recent hectic experiences trying to
get Jeanne Fagels to work. There is a girl who had
them trembling with fear when she spoke. Odds
were usually about five to one that something would
displease her and she would threaten to walk out
during the day. The worst of it is that after get-
ting spoiled by a genial disposition like Gertrude
Lawrence's, they have to get used to Jeanne Eagels
again. She is going hack to remake 'Jealousy,' with
a new leading man. Of course she was great in the
tinu< cl on page 108
30
Here Bebe Daniels is seen as Rio Rita, with John Boles as the hero of what promises to' be a great hit.
Tke Luck of tke Spanish
When Bebe Daniels was chosen to star in "Rio Rita" on the screen, Hollywood said that it was just
another example of the good fortune that has been hers all her life. But a close look at Bebe's character
discloses the real reason for her success.
B>> Helen Starr Henifm
AN exotic, lissome seiiorita going into escrow. Per-
haps in a backless bathing suit disclosing golden
sun-tan.
Or in a riotously flowered, fringed shawl, with a high
Spanish comb. But no cigarettes. For Bebe Daniels
is not courting a husky larynx. One of the greatest
roles among the year's plums has come her way — the
title role in the screen version of "Rio Rita."
Brook trout or goldfish in the patio pool. Common
as alley cats, those goldfish. It will be brook trout,
even if a fresh, mountain stream must be made to run
through a section of a seaside house. Could she possibly
win the fencing championship of America at the Olym-
pic games in Los Angeles in 1932? Those French verbs !
Yes, as she picks out the exact shade of blue tile she
wants for her steps — that would be a pretty shrewd trade
a thriving business
— her ranch acres for a corner on
boulevard. How to get into a loop and out of a spin,
so she can qualify for her first pilot license. Other stars
coming Sunday to swim. Supper to be planned. Black
lace on that yellow georgette.
It may be typical of other Spanish beauties to loll and
laze and vamp, but Bebe Daniels' mind is constantly at
work, her diversity of interests most surely acting as a
balance wheel to the responsibilities of stardom.
I wondered if Bebe Daniels had had any sleepless
nights over the arrival of stage players for the talkies.
Or felt any bitterness. She has had the glory of star-
dom so long. But she made one of the most graceful
comments I have ever heard from a Hollywood star.
"Why, if the stage had suddenly gone pantomime, and
Tke Luck of tke Spanish
31
the producers of plays told their stars they
couldn't use them any more, the actors would
surely have risen to the occasion. In just the
same manner, the picture stars rose to the occa-
sion when they were required to speak."
That was charitahle of Behe. A cool thought,
kindly and fair. She has an inherent respect for
artistic competence, whether of the footlights or
screen. And I sensed a sly slap at nervous pro-
ducers who have silent stars under contract.
"Why so panicky?" she might ask, if she didn't
know that too-frank speech is suicide in the show
business. For I am sure that Mary Pickford,
Bessie Love, Betty Compson, Norma Talmadge,
Norma Shearer, Bebe Daniels, and others have
had some mischievous offstage giggles among
themselves at a public that dared them to talk out
loud, and at producers who were afraid to trust
them above a whisper.
However, the sudden popularity of talking pic-
tures must have been somewhat upsetting to Bebe
Daniels. She had not taken a voice test before
she signed with RKO. That was only six months
ago, but even then all producers did not take the
talkies seriously. Bebe had an enormous follow-
ing, they figured. She was valuable in either
silent or noisy pictures.
And Bebe's new contract grants what she has
wanted for years. She will no longer have to
leap over tables and chairs, or play in jazz plots
created on the lot as they go along. Now she will
be the star she has al-
sweetness, romance — to
be the star she has al-
ways hoped and wished
to be.
There have been crises
before. The influx of
Mexican beauties — Lupe
Yelez, Dolores del Rio,
Raquel Torres, Mona
Rico, and others. But
Bebe Daniels was the
original Spanish sehorita
of Hollywood, and she
took this near-Spanish
invasion with proud dig-
nity. Her grandfather
was for years an Ameri-
can consul at Buenos
Aires. Though born of
a Scotch father and a
Spanish mother, she re-
tains the Latin strain in
appearance, for her hair
is silky and blue-black,
her eyes black, large, and
heavily lashed, and her
skin that rich olive so
envied this season by
fashionables who wish
they were naturally
tanned.
"I hope I'd be cast for
Rio Rita, and so I stud-
ied one of the solos with
my singing teacher,"
Bebe told me, as we
Bebe is at home in Span-
ish costumes, for she is of
Castilian descent.
Miss Daniels has forsaken comedy for good,
and will now portray dignity and romance.
lunched and gazed out over the blue Pa-
cific. "I learned it awfully well for the
test. I knew it backward and forward.
"Then I went to the studio to sing my
piece. They sounded the gong for silence.
And it surely was silent! The awful still-
ness just got me. I'd never been used to
that before. My throat m muscles became
stiff. I was so frightened and nervous I
couldn't sing a note of the song I had prac-
ticed so long !
"The pianist sensed my stage fright, and
so he picked up two new pieces and asked
me to follow his accompaniment. Some-
how I felt more at ease singing the new
numbers than the one I had learned. I
had to concentrate and think about the
notes, and some of my fear left me.
"The next day when I went into the test
room with a director and the supervisors,
I tied eight knots in my handkerchief. I
dreaded so to hear the sound of my voice.
That was a terrific ordeal. Put the others
said they liked the test, and asked me to
learn the other 'Rio Rita' solos, and take
another test in three weeks. In that time
I had a chance to gather myself for a su-
preme effort. They shipped my second
test to New York, and the Eastern officials
of the RKO said they liked it. so I was
given the role."
32
The Luck of the Spanish
For both Miss Daniels and John Boles "Rio Rita"
a great break.
Victor Barravalle, who conducted
the stage productions of "Rio Rita,"
"Show Boat," and "Three Cheers" in
Xew York, was brought to Hollywood
to direct the music of "Rio Rita" and
other musical shows RKO will pro-
duce. Harry Tierney, who wrote the
music for "Rio Rita," is writing a new
number for Bebe to sing at the end of
the picturized "Rio Rita." In all she
will sing three solos, as well as several
numbers with John Boles.
If Bebe Daniels had never won an-
other contract after she left Para-
mount, or if she had not made good
in her first voice tests, she could have
fallen back on other strong defenses,
because Bebe is a clever woman. She
has followed that line of action which
is always successful — to avoid carry-
ing all your goods in one basket ; to
avoid investing all one's emotions in
any single individual or object, or tal-
ents in one line, for to do that is to
invite hurt and disillusionment.
At 'the age of sixteen she designed
and made such pretty clothes for her-
self that a manufacturer offered her a
job to design dresses. She still de-
signs many of her frocks and all her
shoes. There is one line of creative
work that she has always been able to
turn to if pictures failed.
When thrifty Harold Lloyd, on
is
thirty dollars a week, was managing to Bebe how
Ben Lyon
, her fiance, shows
to open a parachute.
buy his first auto and nice-looking clothes, as well
as boxes of candy for Bebe, the American
senorita was then casting a shrewd eye on Cali-
fornia real estate. Even in her early twenties
she seemed to realize that solid investments hold
power, give one a strong background that supplies
courage to follow the more artistic but financially
hazardous interests. And Bebe early learned the
uncertainties of the show business.
She can appraise lots in Los Angeles with the
expertness of bankers who have spent their lives
in that sport. She knows when new boulevards
will be laid out, the amount of assessments, and
how a mortgage or a trust deed, an option or a
lease, should read to be within the law. I should
hate to see some sharp real-estate salesman try to
sell her a lemon.
She owns three magnificent beach houses, ' a
large ranch, business corners, subdivision acreage,
and residence lots. All this knowledge and prop-
erty, which she has picked up by keeping her busi-
ness eyes open, could easily provide her with
another vocation if she needed one. She is en-
thusiastic over the future of Los Angeles, and if
you feel that way about a town, it's easy to at-
tract others to buy there.
"And I have a passion for building," she told
me, as she took me through one charming room
after another in the beach house she has just
completed. She had just rented it to Norma
Shearer and Irving Thalberg for some months
to come. "I must always be building something,"
she says. Which again reveals the Daniels psy-
chology — to keep busy with side lines, and keep
the creative talents at work, for they are not
only a balance, an outlet, but they add a piquancy
and freshness on the return to the
principal job.
So another profession is open to
her in planning and building houses.
"I couldn't bring the ocean up to
the third floor," she laughed, as we
stepped out on a charm-
ing veranda flanked by
bright flowers overlook-
ing the sea. "So I
brought some sandy
beach up here. Just
beyond the canopy of
the porch, a flat roof
had been covered with
sand, the sky its cover.
And Bebe's swimming
guests can rest up there,
far from the tramping
Sunday throngs. She
is nothing if not origi-
nal.
Then there are the
play rooms — a tile-aud-
cement, waterproof
room leading from the
beach, with a ship of
unusual design its only
decoration. Guests dripping in
bathing suits that also spill sea
weed, can clamber on stools
at a counter and have hot dogs
and coffee. Which, also, is an
adroit way of keeping sea-
soaked company off sump-
Continued on page 107
66
Wkat's In a Name?
A whole lot, say these stars. For they discarded their own
patronymics for mother's maiden name as a stepping-stone
to fame.
Jeanne <le la Fante is better
known as Renec Adoree, .
and she says it was her moth-
er's name. Be that as ii may,
it is easy to adore Renee.
Leatrice Joy, center, was born
Zeidler among the japonicas of
New Orleans, but assumed her
mother's name early in lier
career.
Sue Carol, left, was
christened Evelyn Lcd-
crcr and, to complete
tiiis sextet, we
mother's name was <
Nils— As He Is
In this shrewd and discriminating catalogue of Mr. Asther's tastes and habits you will find the man
himself clearly reflected.
By Margaret Reid
HANDSOMER by far than a man has any right to
be, his rather bad temper is reassuring proof that
' he is mortal. Otherwise one might suspect the
viking gods of more progeny than they accounted for.
To these expert eyes, Nils Asther is the best-looking
arrangement ever to emerge from a projection machine,
or from Hollywood, or from Sweden — nay, from any-
where. Your pardon while I swoon. He really is that
handsome.
With the Asther physiognomy you are already fa-
miliar. The adjuncts of personality are in nice propor-
tion. The ensemble is at once the delight and despair
of Hollywood ladies, since Nils is susceptible but not
accessible ; liking and admiring Hollywood pulchritude,
but seldom inviting it out. The Coconut Grove, the
Biltmore, Montmartre, the gala premieres are all dis-
tinctly Astherless. Femmes who just must see him have
to be satisfied with accidental glimpses of a battered
roadster crawling along the Boulevard at fifty miles an
hour.
Nils Asther is taking out his naturalization papers, be-
cause he feels that in America he has found his country.
He has become imbued with the sense of speed, constant
activity, and swift progress here. When he returned to
Europe recently for a vacation, the prevailing attitude of
"What was good enough for
father is good enough for
us" irked him. But although
he loves the consciousness of
activity around him, he does
not like to be a part of it.
He is happiest when in close
touch with teeming civiliza-
tion, but is himself solitary.
He lives alone in a charm-
ing little house on top of the
Vine Street hill. The in-
terior of the house is redo-
lent of his individual taste.
A connoisseur of antiques,
he has furnished his home
with exceptional Spanish and
Chinese pieces, which are the
fruit of lengthy explorations
into lesser-known parts of
Los Angeles.
To this house come only a
few intimate friends. It is
not, as are many Hollywood
homes, a clubhouse for high-
spirited sycophants. Its doors
are closed to those merry
lads and dames who can-
vass the town of a Sunday,
cocktail bent. Nils loathes
big soirees, loathes makers of
whoopee ; cannot be dragged
to parties, liking best to en-
tertain in peace those few
friends whose humor, tastes,
and intelligences do not of-
fend. So of course the mul-
titude
He is not, how-
Nils Asther
likes few
things better
than to visit
the zoo and
fraternize with
its inmates.
nevertheless
of uninvited call him high-hat.
ever. Only discriminating.
More than people he likes dogs. He had an Australian
sheep dog, shaggy, awkwardly frolicsome, who accom-
panied him everywhere. A few months ago Clumsy
was the victim of a speeding truck. For weeks', after-
ward Nils was grief-stricken. "My best friend, he have
died." A sympathetic fan sent him an Alaskan puppy
as successor. Nils was deeply touched and the puppy
is now lord of the Asther home.
One of his friends is a Swedish girl who trains lions
and tigers at the Selig zoo. Nils likes to go there and
roam among the animals. The girl is training and tam-
ing a leopard cub which Nils intends to take home and
kennel in the back garden.
He likes solitude and his idea of a rousing, good vaca-
tion is to take his car and, alone, drive up into the moun-
tain forests and there camp. He likes to ride, and owns
a magnificent Arabian. He can often be found cruising
along the coast in a sailboat, with himself as skipper,
mate, and crew. To keep fit — and his obvious fitness is
particularly apparent among the pale, languid young
men about the studios — he has a trairing camp in his
back yard where the birds, if they wish, can perch on
the hedge and observe Swedish gymnastics at their best.
His one car is a roadster, not new any
more, and bearing on its haggard sides
the emblems of many impacts and rain-
storms. But its capacity for speed is
dear to Nils' heart, and he drives as if it
were a fire engine and a hundred homes
were at stake. He never employs a
chauffeur, probably because no one short
of De Palma could drive fast enough for
him. Distance is without meaning, and
he has been known to drop in casually for
breakfast with a friend who lives a hun-
dred miles up the coast.
Naturally morose and moody, he is
a delightful host and com-
panion. He is careful not
to inflict his moods on
others, and his occasional
tempers are allowed to dis-
turb only himself. Hy-
persensitive, he is easily
wounded by a slight or un-j
kindness and, by virtue of
this, never wittingly inflicts
a hurt himself. Not a
happy person, he is, how-
ever, fairly content if al-
lowed to live as he wishes,
which is quietly and alone
and free of the social de-
mands of Hollywood. So-
cial politics in the film col-
ony amuse him from afaf
and annoy him "on close
contact, so he keeps to him-
self. There is, though, no
Continued on gage 104 ]
35
Photo by Ruth Harriet Louise
NILS ASTHER has been married and divorced, is taking out
his naturalization papers for American citizenship, and when
sought for his love-life confessions fled in horror. These arc high
lights in Margaret Reid's uniquely interesting compilation of facts
about him opposite.
AGAINST strongest competition of a whole brigade of "typi-
cal American boys," David Rollins has contrived to make
himself known as one of the leaders, and if you heard him in
"The Black Watch" you know that his voice is just another of
his assess.
37
I
II
Photo by AiwiIh
(~\F a" the stage players who have rallied to the cause of speech
v on the screen, there is no more perfect exemplar of eloquence
than Raymond Hackett, whose voice can sway the sternest jury,
galvanize the weariest critic, and save the most anxious heroine.
YOU don't know the half of it, dearie — not till you hear the
thrilling wonder of John Barrymore's voice, which at last is
to be Vitaphoned to the fans in "General Crack," a picture en-
tirely in dialogue and color, too.
Photo by Fred K. Archer
HOW little Marian Nixon has come out ! She used to be an
organdie heroine, with a stripling waiting for her in the last
reel, but here she blossoms forth as Maria Luisa, in "General
Crack," a great lady to be won only after impassioned siege.
40
OVERY cloud has a sil-
*-< ver lining. Which is
just another way of saying
that Leatrice Joy, after cre-
ating a sensation in vaude-
ville and a void in Holly-
wood, has been coaxed back
to the screen, where 'her
charm will further be
proved by her winsome voice
in "A Most Immoral Lady."
41
DOLORES DEL RIO re-
veals herself in her
home to receive the applause
of her fans for "Evangel-
ine," near the piano where
she practices songs for her
next picture in which she
will also speak for the first
time, and which every one
hopes will be another "Res-
urrection."
Photo by Russell Ball
42
OVER since a child I lof to steal— but I always give things
L< back," said Lupe Velez to Malcolm H. Oettinger, whose
story opposite reports a visit to the much-discussed Mexican girl
in the excitement of her invasion of Broadway.
Photo by Irring Chldnoff
43
Just a Little
Madcap
An inquiry into one of the more or less over-
night sensations of 1929.
B>> Malcolm H. Oettinger
THE big talkie and sound men arc exploiting
Lupe Velez as another one of those pro-
noun girls, putting her up in the same tins
as Alice White and Clara Bow, with a Mexican
label to add a dash of chili, which is always good
for the box office.
Lupe is one of nature's children, playful, bois-
terous and as natural as a gullible fellow would
be led to suspect.
When Lupe came to New York, advance word
had it that the big town was in for a treat, so to
speak. Here was everything from the Flame of
Hollywood to the original Mexican jumping bean.
This was the little girl who tore up Santa Monica
Boulevard by the roots, addressed DeMille without
saying "Please, sir," and danced on tables as oppor-
tunity presented. She was alleged to be a lovable
vixen, a madcap ingenue, a composite of Dolores
del Rio, Olive Borden, Jetta Goudal, and Louise
Fazenda.
Lupe, the ballyhoo intimated, had captured the
hearts of many in very much the 
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